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THE LIBRARY
OF

THE UNIVERSITY

OF CALIFORNIA

LOS ANGELES

Some few Optniojis of the Press on the First Edition of

The Printers' Handbook

Of Trade Recipes, Hints and Suggestions relating to Letter-
press and Lithographic Printing, Bookbinding, Stationery,
Engraving, etc., etc. By C. T. Jacobi. With many useful
Tables and an Index.

Athenaunt. — " A purely technical work, giving hints and receipts, and doing for a printer
what a cookery book ought to do for a cook. . . . Much in the volume that will be
useful to stationers and lithographers. "

Effective Advertiser. — "This book is what ever>' master should keep on his desk, and
every journeyman and apprentice be acquainted with."

Press Xezvs. — " The result of a great deal of labour and patient research."

Printing; Times and Lithographer. — " We have gone with great care over the contents,
and find it well selected, judiciously condensed, and to the point all through."

The Bookbinder. — "This is a useful work of reference, and contains many useful hints."

English Mechanic. — " The book contains a good deal of information that will be of use
to printers and others engaged in allied branches."

The Printer. — " Here are to be found useful ' wrinkles ' calculated to help the workman
out of many a difficulty, and to save time and money to employers."

Paper and Printing Trades Journal. — "Printers and stationers will find Mr. Jacobi's
book of considerable value."

Export Joiirnal. — "Contains everj^thing that is useful or interesting to printers, litho-
graphers, bookbinders, the paper trade, and other branches connected with books."

Superior PriiLter, U.S.A. — " The compiler presents them in an attractive manner, easy
of access and reference."

British Printer. — " Fills a want acknowledged by every member of the craft."

Crown 8z;^, cloth, price 3X. dd. {by post, T,d. extra).

The Printers' Vocabulary

A Collection of some 2,500 Technical Terms, Phrases, Abbre-
viations, and other Expressions, mostly relating to Letterpress
Printing, many of which have been in use since the time of
Caxton. By C. T. Jacobi. Including specimen page of marks
and signs used by Correctors of the Press, and sizes of types
graduated and named. Useful book for Authors and Publishers
as the work contains many bibliographical references.
Some 3Dpmion0 of tlfz ©rees.

Athencenm. — " Another of Mr. Jacobi's useful manuals. . . . Authors too may consult it

with advantage."
Literary World. — "Easy of reference. "
Effective Adz>ertiser.— " 'Mr. Jacobi has shown great research, and his definitions may

be taken as correct."
Press News. — " Selected with special care. . . . A welcome addition to our tjTDOgraphic

literature."
Bookseller. — "Will be found useful and convenient."
Printing Times and Lithographer. — "Useful to all who have anything to do with

printing."
Publisliers' Circular. — "The author's knowledge of the subject, as well as his diligence

in compilation, is not to be questioned."
Bookmaker, U.S.A. — " A verj- useful manual for all those connected with the art."
Bookbinder. — "To authors and publishers it will often render much assistance."
Printers' Register. — " It is quite an amusing volume."
HazelPs Magazine. — " Will be welcomed by the young author."
British Printer. — " The contents show that Mr. Jacobi has been a careful student."

London : The Chiswick Press, Tooks Court, Chancery Lane.

-V't'K' Kcady. S»ia/l Post Svo, cloth, price <^s. {by post, ^d. extra).

Printing

A Practical Treatise on the Art of Typography as applied more
particularly to the Printing of Books. By C. T. Jacobi,
Manager of the Chiswick Press and Examiner in Typography to
the City and Guilds of London Institute. With upwards of
150 Illustrations, many useful Tables, together with a Glossarial
Index of Technical Terms and Phrases.

S)ome 2Dpinions of tbe ll=)rc00.

Athcnaum. — "The work of a man who understands the subject on which he is writing,

and is able to express his meaning clearly. Mr. Jacobi may further be complimented

on having supplied an excellent index."
Tlu Speaker "A practical treatise of more than common value. . . . This is a

thorough, concise, and intelligible book, written with obvious mastery of all details of

the subject."
Saturday Review. — "Mr. Jacobi goes into the minutest particulars . . . contains a large

amount of information which will prove interesting to anyone who has ever had

occasion to look into a printed book or newspaper."
Spectator. — "The ignorant reader may gain considerable information as to the machinery

and working of the art."
Literary World. — "Just what it pretends to be— a practical treatise for practical printers

.... a masterly handbook.'
Industries. — " Many books have been published on the art of printing .... the book

before us, however, is more concise and complete than any of them."
Tlu Scotsman. — "A practical and useful work of instruction in the various arts and

processes of book-printing."
South London Press. — "Mr. Jacobi is well qualified to write upon the art of printing,

and his treatise possesses the merit of being interesting and instructive."
The Star. — "Very useful for experienced typos, for amateurs, and the general public."
Bookseller. — " He deals at considerable length with t>'pes, composing, reading, press-
work, warehouse work, .ind machinery. The last-named is particularly good."
Printing Times and LitJiographcr. — "It deals with the subject in an exhaustive and

succinct manner. . . . We wish it all the success it deserves in its efforts on behalf of

technological education."
Printers' Register. — "There is much about it which pleases us. . . . It is well printed

and well illustrated. . . . He has written tersely and to the point."
Effective .Advertiser. — " ' Printing ' is a book that we can recommend to our readers. It

is literally full of items which will be of importance to the printer in his daily toil."
The Stationrr. — " A wonderfully complete book, going into full explanations as to almost

everything."
HazelCs Magazine. — " It has been carefully compiled, and in this respect is more reliable,

and certainly more portable than some other attempts in this direction. . . . We can

unhesitatingly recommend the young student to add the book to his technical library."
Stationery and Bookselling. — "Written as it is by one of the best authorities on the

subject — the manager of the Chiswick Press — is a thoroughly practical treatise on the

art of typography.
British and Colonial Stationer. — "The work throughout is profusely illustrated, and the

ma.ss of information that it contains cannot fail to be of the greatest use to all en-
gaged in the printing office."
Press Ne-ws. — "There is. too, much that is new in the book, that is to say many of the

subjects treated of are quite new."
British Printer.— " \s a class text-book on bookwork it will be very useful, as the con-
tents are well arranged, and the instructions are clear and precise."
British Bookmaker. — "The author, as manager of the Chiswick Press for many years

pa*t, is entitled to .speak with authority."

London : The Chiswick Press, Tooks Court, Chancery Lane,

THE PRINTERS' HANDBOOK.

The Printers' Handbook

TRADE RECIPES, HINTS, & SUGGESTIONS

RELATING TO

LETTERPRESS AND LITHOGRAPHIC PRINTING

BOOKBINDING, STATIONERY

ENGRAVING, ETC.

WITH MANY USEFUL TABLES AND AN INDEX

COMPILED BY

CHARLES THOMAS JACOBI

Manager of the Chiswick Press ; Examitur in Typography to the City and

Guilds of London Institute; Author of ^^ Printing, a Practical

Treatise on Typography ;" " The Printers' Vocab7tlary ; "

"On the Making and Issuing of Books ;^' etc.

Second Edition, Enlarged and Classified

LONDON

THE CHISWICK PRESS, 20 fi^ 21, TOOKS COURT

CHANCERY LANE

1891

PREFACE TO THE ENLARGED AND
CLASSIFIED EDITION.

THE compiler issues this Second Edition with a hope
that it may prove as acceptable as at its first
appearance. The facts that the first edition was soon
exhausted, and continued inquiries were being made for
the book, are the best excuse for its reappearance.

Much useful matter has been added, and an attempt
has been made to classify it under the heads of departments
or trades.

To have given more explicit acknowledgment would,
perhaps, have been better, but, as intimated in the earlier
preface, the same item is so frequently repeated in the
different journals, and sometimes in a varying form, that
it would have been difficult to have traced its origin.
Owing to this repetition and variety in the mode of treat-
ment, the reader's indulgence is requested if the compiler
has failed in a few instances to discriminate between these
duplicate fugitive pieces.

In addition to the journals named in the original
preface, he is indebted to the following : —

British Printer.
British Bookmaker.

Effective Advertiser.
Printing World.

JIB
1?^

1267595

INTRODUCTORY TO THE FIRST
EDITION.

IN putting this book before the Trade, the compiler
offers his apologies and tenders his thanks to the
proprietors of the various technical journals, both English
and foreign, from which he has culled the bulk of these
recipes, etc. ; others are the result of his own practical
experience. He trusts that this compilation — the result of
many years' collection — will be found useful alike to the
master and to the workman, for he believes no such work
is at present in existence. It is hoped it will be of service
to all interested or engaged in the art of printing and its
allied trades. The want of such a book has long been
felt, for, owing to the fact that the information is spread
over a vast number of sources and repeated over and over
again in different journals, there has always been a diflR-
culty in turning up any particular subject when required.
Further, the compiler has not had the opportunity of
verifying all the matter contained in this work, so in many
instances it has been reproduced exactly as it appeared
from time to time.

If the demand should warrant a new edition at some
future date, the compiler may be able to extend its use-
fulness, and he will be obliged by any hints, suggestions,
or additional information suitable for the work being sent
to him personally at the Chiswick Press, Tooks Court,
Chancery Lane, London.

INTRODUCTORY.

It IS hoped the Index will be sufficient to find any
particular subject, for it was found inconvenient to classify
the multitude of items treated — at least for this initial
edition.

Amongst others the compiler is indebted to the following
English journals : —

Paper and Printing Trades Journal.

Printing Times and Lithographer.

Printing Trades' Diary and Desk Book.

Press News.

Printers' Register.

British and Colonial Printer and Stationer.

1887.

CONTENTS.

PAGE

Composing Room i

Machine and Press Work 55

Rollers 88

Inks, Varnishes, etc 101

Warehouse Work and Stationery 136

Mucilages 185

Stereotyping and Electrotyping 198

Lithography 210

Engraving and Process Work 229

Bookbinding 254

Miscellaneous 272

Appendix : Commercial Information 339

Index 350

THE PRINTERS' HANDBOOK

RECIPES, HINTS, AND SUGGESTIONS.

COMPOSING ROOM.

ORIGIN of the Various Sizes of Type.— There
were seven sizes of type. The first was called " prima,"
whence the name prime, but this sort is now termed two-line
English. The second was "secunda," which is our double pica ;
in France, great paragon. The third was " tertia," at present
our great primer. Then there was the middle size, still called
in German "mittel,'' but this is now our English. After these
came the three sizes on the opposite side of the scale — pica,
long primer, and brevier. In Germany the names secunda,
tertia, and mittel are still retained. Pica in France and
Germany is called " Cicero," because the works of that author
were originally printed in it. English printers so styled it
from being the type in which the ordinal or service-book of
the Roman Church was originally set. This ordinal was first
called the pica, or familiarly, pie. Bourgeois was so named
because it was introduced into this country from France, where
it was originally dedicated to the bourgeois or citizen printers
of that capital. Brevier obtained its name from its having
been first used in printing the breviary or Roman Catholic
abbreviated church service-book. Nonpareil was so named
because on its introduction it had no equal, being the smallest
and finest type produced until that time. Pearl is of English
origin. The French have a type of the same size which they
call "Parisien." It was a smaller type than nonpareil, and
was thought the pearl of all type. Diamond is another fancy
name given to what was regarded at the time of its origin as

THE PRINTERS' HANDBOOK.

the g^reatest of letter-foundry achievements. One or two sizes
besides have been made, and capriciously named by their
respective producers. There is no doubt, however, that the
best, because the most scientific and accurate, system of
designing types is the French system — according to " points."
At home here in England, our type-founders naturally object
and hesitate to adopt an innovation of so revolutionary a
character, hence the present time-honoured names are likely
to hold their own in the terminology of the printing office.

Style of the House. — In large establishments it is best to
print a few rules as to the method of doing certain things, as
nothing causes so much friction between the reading and com-
posing departments as a want of understanding in these matters.
Peculiarities in pointing, spellings, and style are not always
agreeable in different offices, and a variety of styles is perplex-
ing to all concerned, and entails much labour both on readers
and compositors.

Taste in Typography. — Though the word "taste"
scarcely admits of the idea of variety of style, whether good
or bad, it is pretty generally so understood. The proper use
of it is to denote the sensation produced on the tongue as to
distinguishing agreeable flavours. Figuratively, we may use
the term in perceiving agreeable sounds, colour, or forms. In
this sense a printer ought to try to educate himself to a high
degree of excellence in discerning not only what is agreeable
to his own eye, but to that of others. In other words, he
should be able to appreciate a variety of tastes. The artist,
whether he be a painter, photographer, or a printer, who can
Bee beauty only in one style of art, or the musician who is
always humming the same tune, can satisfy but few except
himself There may be but one perfect style of beauty in
each department, and it may be possible for a man to attain
to it, but it is certain that many more whose tastes may have
had some cultivation are still unable to appreciate it. A
printer, therefore, while he should strive to elevate his art by
educating his customers up to his standard, should not seek to
go so far above that they cannot follow.

COMPOSING ROOM.

Hints on Setting Pamphlet Covers. — The title for a
pamphlet cover, without border, should be of plain face. Old
style lower-case of Roman or italic will be most satisfactory
for a short title of one or two lines. For a full-page cover-title
select plain type. If a rule border is desired, select a rule
which can be readily fitted with corners. Never cut a rule,
nor make up a border, for a cover-title until you know what
will be the exact size of the cover. When you know the size,
arrange the border so that it will be equidistant on all sides
from the edge and back of the cover. Always keep the border
of a cover at good distance from the types of the title. Prefer
borders of large pieces. Never make up a combination of
small pieces without order. If a cover forme of four pages
contains cuts or electrotyped advertisements of unequal size,
have the four pages made up on galleys in pages of uniform
size before they are laid on stone. Before making a margin,
get a trimmed sheet of the cover paper. Find out from the
foreman the exact thickness of the pamphlet, and make allow-
ance for this thickness in the inner margin or back. When
it can be done, put marks between the second and third pages
of a cover, indicating the thickness of the book, as a guide to
the coverer.

Bodkins. — The utility of these little instruments is un-
doubted, and, in the hand of a capable workman, effect a great
saving of time, though manufacturers perpetrate one great
fault in making them, and that is they are too long and badly
finished ; seventy-five per cent, break after a very brief use.
W^e hear and read of different opinions concerning bodkins,
but at least compositors know how to manipulate them, and
complaints of injury to the type by the bodkin are rare. Our
American friends, on the contrary, as a rule, denounce the
bodkin in terms that would amount to its being a friend of
the type-founder. Why should practical men advocate its
extinction ?

Arrangement of Case Racks. — As far as possible keep
them so as to have a series of faces in the same rack. By
that means a larger cap will often suggest itself to make a more
effective display line.

THE PRINTERS' HANDBOOK.

Method of Laying New Type. — The careful laying- of
new type into case is a work of greater importance than most
printers believe. It is too often intrusted to apprentices,
without instruction as to the method of doing it, the result
being often seen in cases of pie and a large proportion of
battered letters. The following plan is recommended on lay-
ing a new book fount, and on no account should a learner be
allowed to undertake the work before he can distinguish from
each other the letters b q, u n, d p, as well as the small capitals
c, o, s, V, w, X, z, from the same letters in the lower case. In
regard to these small capital letters, however, some type-
founders adopt the plan of giving them an extra nick to
distinguish them from the lower-case. Unwrap carefully the
page received from the founder, and, laying it on a galley, it
may be thoroughly soaked with thin soap-water, to prevent
the types adhering after they have been set up and worked off;
then, with a stout rule or reglet, lift up as many lines as will
make about an inch in thickness, and placing the rule on one
side of the bottom of the proper box, slide off the lines gently,
taking care not to rub the face of the letter against the side of
the box. Proceed thus with successive lines till the box is
filled. Careless compositors are prone to huddle new type
together, and, grasping them in handfuls, plunge them pell
mell into the box, and then roughly jostle them about to get
more in. The type left over should be kept standing in regular
order until the case needs replenishment. A fount of 500 lbs.
of pica may have, say, five pairs of cases allotted to it; the
same amount of nonpareil from eight to ten pairs of cases.

Setting Short Measures. — Say the measure is two
ems brevier. Make up the stick to ten ems, drop in two
four-em quads of its own body in the end of the stick farthest
from you, justify up to them, and go on filling the stick ;
when it is full, empty it and remove the quads.

A Good Suggestion. — Always pick up a type, lead, rule,
or quoin, at the time it is dropped. This is not only a saving
of material, but it engenders a habit of carefulness and
economy. Moreover, the stooping and bending of the body is
often a relief, especially after standing erect for some time.

COMPOSING ROOM.

Cleaning Formes with Steam. — Steam has the ad-
vantage of rapidly boihng the oil of the ink, which condenses ;
it gets rid of all dirt, and leaves the types perfectly clean.
Further, types cleaned by this means always look new, and
that the oxidation produced by potash, which is so injurious
to the skin, is avoided. Let the forme be subject to the jet of
steam for two minutes. The heat will dry the types instan-
taneously, and much facilitate distribution. As no brushes
and potash are required, the expense of fixing up the piping
is very soon saved. The steam must be drawn direct from
the boiler, as waste steam is not hot enough.

Washing Formes. — Formes sent down to machine ought
not to be wet too much with lye or with water, otherwise it
becomes necessary to dry them before working, which takes
time and often much trouble. The wet works up little by
little to the face of the letter, and then the forme becomes un-
workable. It has often to be taken off the coffin, the feet of
the types have to be thoroughly dried, then some sheets of
unsized paper have to be placed under the forme ; it has also
to be unlocked, shaken, locked up again, the sheets removed
with the moisture they have imbibed, and then it is to be
hoped the forme will be workable. If not, there is nothing to
be done but to lift it and dry it by heat.

Lye is generally used for washing formes which do not
contain wood blocks ; turpentine where woodcuts or wood-
letters are to be found in them. The bristles of the lye-brush
should be longer than those of the turpentine-brush, and, in
order to preserve it, each brush should be properly washed
with water after using, and shaken and stood up to dry. If
this is not done the brush will last but a short time.

There is no good m taking up with the brush a large quan-
tity of lye or turps, and to shed it at once. Yet this is too
commonly done, regardless of waste. In order to wash a
forme well the brush should be passed lightly over all the
pages, in order to wet them uniformly. Then they should be
rubbed round and round, and finally lengthwise and crosswise.
Leaning on the brush not only wears away the bristles, but
sometimes injures the face of the types. It is a bad practice.

THE PRINTERS' HANDBOOK.

Barbed Spaces. — A foreign journal draws attention to a
useful little invention just invented, and intended to facilitate
the keeping of type, ornaments, and so on, in blank cases. It
consists of slips of white metal, with projecting spurs on each
side, so that they can be firmly driven into the wood and fixed
there. In this way the cases can be subdivided with the help
of wooden sticks into a number of compartments with firm
sides. The invention has claimed for it the following, which
are named to us : — The stamps no longer fall down ; pie is
avoided ; the stock of type can be controlled and the letters
examined ; the type is protected from injury and does not
stick fast ; the process of setting up and distributing the type
is considerably facilitated, valuable spacing material, such as
quads, clumps, furniture, etc., is saved ; the cases can be kept
in order for an indefinite period ; compartments of any
required size can be formed instantaneously in no other way ;
ornaments, borders, rules, polytypes, electros, and similar
things, can be preserved in the same way by the application of
these spaces.

Buying Type. — When buying a fount of type try the
metal by cutting it with a knife. You will soon discern the
difference between good and bad metal. Above all, do not be
too anxious to buy cheaply. It is not always that a fount of
type sold is worth the money paid for it. In buying job
founts it is a profitable investment to purchase the whole of
the series. Never ask a founder to divide a fount. It is often
more economical to buy double founts, and thus avoid picking
and turning for sorts. Too small founts are entirely useless.
Quite a mistaken notion is it that cash not spent in new type
is money saved. Find the man who has this mistake in his
head, and who allows it to rule his business conduct, and you
will most probably find one who is not troubled with a flour-
ishing business. The reason is not far to seek. Although a
single evil may be borne by customers, who can stand bad type,
bad ink, and bad paper — especially when by going a few yards
further good type, ink, and paper can be relied upon? Some
printers work their type as long as there is any of the stamp
left, and then would like to turn it round and print the fount

COMPOSING ROOM.

from the other end ! Another mistake is made when it is
supposed that an ornamental job is not a profitable one, simply
because it takes time in composition. Of course we say this
of a properly appointed office. Our contention is that a good
job can be done quicker in such a place than any kind of work
can be turned out from a badly appointed office. In other
words, it pays to keep pace with the times ; and the advice is
sound which recommends the printer to let nothing but the
length of his purse restrain him in laying in new material.

Compositors' Requisites. — Every jobbing hand should
possess a gauge, one up to lOO ems, and a sheet containing the
sizes in inches of the various folds of paper, so that on receiving
instructions to set a job he would not be at a loss for some
idea of the size. It is in the seemingly unimportant items
where valuable time is lost.

Standing Formes. — In almost every office of any im-
portance there are hundreds, and perhaps thousands, of formes
standing. Some of them, probably, are only used once a
year, nevertheless they are allowed to stand there until
wanted again. The method is considerably on the increase,
and overseers would be acting wisely to thoroughly overhaul
the list of standing formes. How often may the men be
noticed going from one drawer to another for quoins, etc.,
which, by a judicious working of the standing formes, would
release enough material in the shape of quoins, furniture, side
and footsticks, and chases, to supply a good many men for
days.

A Suggestion for Spaces. — Keep your middle and
thin spaces separate. It is no uncommon occurrence to wade
through a box of mixed spaces to get half a dozen thins,
whereas, if kept separate, they could be obtained at once. It is
just as ridiculous to mix them as it would be to mix the lower
case t's and a's, and expect to know the difference by their
thickness in using them. If the case maker would arrange
the case with another box for thin spaces — say by taking
about one-third of the upper end of the lower-case e box, on
the nearest side to the middle space box — the practice of
mixing thin and middle spaces would soon die out.

8 THE PRINTERS' HANDBOOK.

Spacing of Matter. — Solid works should be rather
closely spaced than driven out. In leaded works, with a
choice of wide or close spacing, always adopt the wider. Do
not divide words at end of lines ; this should only be tolerated
in narrow measures or exceptionally large types.

Self-spacing Type. — The following illustration explains
the system recently introduced by an American foundry : —

One unit. — Space i

Two units. — Space, f i j 1 .,:;'-! l ' \ Total, 14

Three units. — Quad, cegrstz?)tj:§]||^lcjs

T z - °. Total, 25

Four units. — Quad, abdhknopquvxyfifl ^% £,

1 234567890CJSZABDEFGHKLN

opQRuvxY&iHif ii-li- J M I •

Total, 67

Five units.— w ceceABDEFGLNOPQRTUV

Y & M w iE CE lb. Total, 25

Six units.— Quad, m ffi ffl H K M X— ... r Total,... 11

Seven units.— W iE CE @. Total, 4

Twelve units. — Quad, jj^^ ""^^ Total, 5

Grand total to the fount, 152

Spacing. — Some text-books tell us athick space in the case
of Roman lower-case, and an em quad generally in the case
of capitals. Clearly these are misleading. Are we to space
a condensed Roman lower-case letter as wide as one of bolder
proportions, or a line of small-faced caps as wide as a line of
large-faced ones? Certainly not. Then what rule is there
which will apply equally well to all faces. The proper space
to use between words is undoubtedly that which most nearly
approaches the average thickness (width) of the fount being
used. Practically the a, e, o, or u, of any fount, whether the
line is in the lower case or capitals, are sufficiently near the
average for our purpose, and as one of these letters always
appears in every line, the proper space is at once apparent.
This rule will hold good in all cases, because the thickness of
the letter being taken it matters not on what body it is cast.

COMPOSING ROOM.

The proper or normal space being ascertained, the variations
from it should be as small as possible. The compositor, how-
ever, should bear in mind the following points, which often
render an increase or decrease of space desirable, owing to
the amount of white near the line. Letters which are very
condensed may be spaced a little wider than the rule gives.
Letters which are much expanded may be spaced a little
closer than the rule gives. When letters of a word are spaced
out, the double of the space between the letters should be
added to the space between the words.

Casting Lieads. — The casting of leads is by no means
easy, especially if long ones are required. There is a good
deal of knack in the operation. The mould must be kept hot
and smoked over a flame from time to time, or, better, rubbed
over with a thin solution of jeweller's rouge in water. This
greatly assists the metal to fill the mould.

W^eight of Leads Required for a Job. — Multiply
the number of lines in a page by the number of pages to be
leaded, and divide the product by the number of leads of the
measure required that go to the lb. (see separate table, p. 30).

Example : I have to lead (8-to-pica) 24 pages of matter
set to 21 ems pica, there being 35 lines to the page. How
many pounds of leads shall I want ? In the table I find 54
8-to-pica leads, 21 ems long, go to the lb. Therefore I divide
35 X 24 by 54 and get 15 lbs. 10 oz. Ans.

Note. I should order 20 lbs., cut to the right measure, to
be sure of having enough.

Proportions of English and French Type Metals.

— English types are made of metal composed of 55 parts of
lead, 22.7 of antimony, and 22.3 of tin ; or 61.3 of lead, 18.5
of antimony, and 20.7 of tin ; or, again, 69.2 of lead, 19.5 of
antimony, 9.1 of tin, and I.7 of copper. French metal is
composed of 55 parts of lead, 30 of antimony, and 15 of tin.
Besley's metal was composed of lOO parts of lead, 30 of
antimony, 20 of tin, 8 of nickel, 5 of cobalt, 8 of copper, 2 of
bismuth.

THE PRINTERS' HANDBOOK.

Job Fount Schemes.

Founts of jobbing type are now being sold on the Aa basis
instead of by weight. The following schemes, comprising a
large and a small fount respectively, will therefore be found
useful by some printers.

4A 20a Fount.

36A

70a

Fount.

"to"

."^

—

ffi

—

ffi

ffl

—

ffl

;

•/»

COMPOSING ROOM.

1 1

Jobs on Hand-made Paper. — Small jobs should always
have the deckle or rough edge on the tail ; and if a side deckle
also, should be so printed as to have the rough edge on the
right of a recto page and the left of a verso page as far as
possible, if the paper will allow of it.

Hints on Ordering Sorts. — A typefounder has pub-
lished a table containing a rough estimate (taking Brevier as
a standard) of the amount which the respective boxes of the
regular full-sized lower case will contain ; the first two columns
give the letters and weight only, the last two columns the
letters and number that will weigh a pound.

Letters.

Weight to
Box.

Letters.

No.
Letters
to lb.

acdi sm n houtr

2 lbs.

abdghknopquvxyz

582

f b 1 V g y p w

150Z.

cerst

682

kjzxq and figures

60Z.

398

3 lbs.

fijl

850

Caps

50Z.

Periods and Commas

1400

Composing Room Tools. — It is astonishing to go into
some large printing establishments and find therein a woful
disregard of modern improvements. For instance, in most
houses there is generally a " ship" exclusively for small
jobbing, but here you will have the imposing surface, mallet,
planer, and shooter just as large as a "ship" doing heavier
work. Probably some will say that a large imposing surface
is useful for an emergency. This may be so, but there is no
earthly reason to use a mallet and planer of the ordinary size
on delicate cards, etc. Overseers of composing rooms should
issue to their clickers mallets and planers about one-third the
size. They are much handier, just as effective, and the comp.
can better feel whether he is injuring the type or not with
proper tools.

12 THE PRINTERS' HANDBOOK.

Setting-up and Working Numbers. — Suppose five
sets of numbers from l to loo are required, first set up the
ten digits in a column and print 240 copies to the right of the
centre of the sheet. Then shift the sheet on the press so as
to print ten copies of the same column side by side with the
first; this makes 11, 22, 33, etc. Now remove the cipher
from the bottom and place it at the top, so that the column
reads Ol, 12, 23, etc. The 9 is now put at the head of the
column, causing it to read 91, 02, 13, etc. One by one the
figures are transposed from the bottom to the top, the last
column reading 21, 32, 43, etc., of which, as with the others,
print ten copies. Then set up ten I's, and print them on five
of each of the forms already done, except the first, and also
changing the lower 1 to a 2 on the column ending with 00.
This, it will be seen, gives us all the numbers from 1 to 200.
The operation is illustrated by the following table, showing the
successive printings. Bear in mind that the left-hand column
(1 to o) is printed on all at the first running through of the
press : —

1 11 01 91 81 71 61 51 41 31 21

2 22 12 02 92 82 72 62 52 42 32

3 33 23 13 03 93 83 73 63 53 43

4 44 34 24 14 04 94 84 74 64 54

5 55 45 35 25 15 05 95 85 75 65

6 66 56 46 36 26 16 06 96 86 76

7 77 67 57 47 37 27 17 07 97 87

8 88 78 68 58 48 38 28 18 08 98

9 99 89 79 69 59 49 39 29 19 09
o 00 90 80 70 60 50 40 30 20 10

It will be seen that but twelve formes (including the I's) will
be required for this work, while much less time will be spent
in making changes than would be occupied in endeavouring to
print after the old method. Of course if the numbers and
changes run above 200 it will only require a greater number
to be printed on each form, with the corresponding addition of
higher numbers for the hundreds.

COMPOSING ROOM. 13

A Few Don'ts for Comps. — Don't use leads in
quoining up a forme.

Don't use two quoins together in fitting quoins ; the con-
struction and shape will not permit of it.

Don't neglect to pick up types when you drop them on the
floor.

Don't place letters upside down for " turns," but reverse
the nicks.

Don't pick good matter for sorts.

Don't spike lines with the bodkin when badly justified and
won't lift.

Don't lock up formes as if you were at a blacksmith's forge.

Don't forget in planing down that type is malleable.

Don't space unequally or divide words at the end of lines
if it can be avoided.

Don't shirk any method of improving your work.

To Preserve V^ood-Letter and Cuts. — To prevent
warping in blocks and wood-letter used in large bills, they
should be placed in a zinc basin, provided with an air-tight
lid, and then thoroughly saturated with paraffin oil ; after
being left thus for about four days they should be wiped with
a clean, dry rag. Prepared in this way, when new, wood-
letter is stated to resist the effects of lye, petroleum, turpen-
tine, and atmospheric changes.

Another.Method of Preserving Wood Letter.— It is

generally believed that oiling the face of new wood letters, or
even of woodcuts, will make them take the ink better, besides
giving them greater durability. But in the first case the
result has not always been favourable. A foreign machine-
minder has found a means of obtaining the desired effect,
without risk of making the types or cuts too greasy. He
pours some oil on the imposing stone, or, better still, on an
iron slab, and spreads it with the finger on a space the size of
the wood letter or cut to be oiled. Putting the cut then, face
upwards, on the oiled spot, in a very short time the oil is
entirely absorbed, and the letter or cut is permeated so entirely
as to protect the finest lines of its face.

14 THE PRINTERS' HANDBOOK.

Repairing Battered W^ood Type. — The last office I
worked in (writes a correspondent of the " Inland Printer ")
was stocked with battered wood type, of course caused by
careless handling on the press ; broken tapes, dirt, and an oc-
casional falling out of one of the feed guides on to the forme
while in motion had caused the trouble, and it was impossible
to do good work with such an outfit. I tried filling up the
depressions with sawdust and glue, beeswax, etc., but the re-
sult was not satisfactory. I determined to conquer the diffi-
culty, and, after devoting considerable thought to the matter,
I mixed some warm glue with Spanish whiting, and, after
cleaning out the depressions well, and in some instances
deepening them in order to give the preparation a good chance
to hold, I plastered the defects over with the mixture while
warm. I put sufficient on to thoroughly fill -all depressions,
not being careful to get a smooth surface. After it became
hard I filed it down close to the letter, avoiding scratching the
even surface of the letter, and then treated it to a good rub-
bing with an oil-stone, using oil, and the result was a polished
surface as good, if not superior, to the wood itself; and, as I
rubbed down the plaster even with the surface of the letter,
the printing failed to show any defects whatever. Even the
planer did not damage it, and I felt much elated in overcoming
the difficulty.

Copper-faced \Vood Type. — Attention is called to an
invention made by a Parisian, which, it claims, will cause
quite a revolution in the typographic world. In short,
he has been experimenting with the galvanic process and
wooden type, and has succeeded in induing the upper surface
with a coating of copper. The importance of the invention
can hardly be over-estimated, especially to those who use a
great deal of wood letter and know its perishable nature. In
order to produce what the inventor calls galvanized wooden
type, the letters are placed in a galvano-plastic bath, and
receive a coating of copper. The letter, while preserving
nearly the lightness of wood, is as strong as metal, the copper
coating rendering its form unchangeable, and preserving the
wood from exterior influences and other risks which result from

COMPOSING ROOM. 15

the ordinary manipulations to which type is subjected. The
covering ot" the upper surface with galvanized copper has also
the effect of preserving the delicate serifs of the letters, which
are as strong as type-metal. Although the inventor at present
only employs his process for broadside type, he purposes so
far to improve his method as to permit of its application to
heraldic engraving, to escutcheons, arms, etc. The possibilities
of its application, indeed, are indefinite ; for instance, it may
give wood engraving a fresh chance, as it may be possible,
under this process, to use " cuts " for long numbers where
now electrotypinghas to be resorted to, much to the detriment
of the artistic finish of the work.

How to Treat Wood Type. — To prevent warping, all
very large wood type should be set up on the edge when put
away, so that both sides may be equally exposed to the air.
In cleaning it, neither lye nor water should be employed
under any circumstances. Turpentine, paraffin, benzine, or
kerosene oil maybe used; but turpentine and paraffin are the
best. Procure a small shallow pan ; lay the forme flat on the
board ; pour about six table-spoonsful of turpentine into the
pan ; touch the face of the brush to the turpentine, and pass
it quickly over the forme before it evaporates. Six or eight
spoonsful of fluid will be found sufficient to clean a large
forme, if thus used.

Keeping Cases Clean. — Dust is a great foe to types, as
well as to the comfort of the compositors. No sane person
would think of throwing sand upon a forme to be ground into
the types. Yet the damage is proportionately as great when
cases and types in constant use are allowed to accumulate
dust to be ground against the faces of the types by the
shaking of them up, the jarring consequent upon the con-
tinual touching of the fingers in the case in composition,
and the repeated friction that comes from use. It is a matter
of economy to have cases blown out at least once a week, and
piece hands will make money by keeping their cases free of
dust by the increased amount of work they will be enabled
to do.

16 THE PRINTERS' HANDBOOK.

Sticky Type. — It is said that types, especially new ones
which have been papered and put away for a* long time, and
which consequently stick badly, may easily be separated by
placing them on the stone and pouring a little glycerine upon
them, leaving them to stand there over night. The glycerine
may be washed away with warm water, when the types will
be found ready for distribution.

Another Remedy for Sticky Type. — The type in
long-standing jobs often becomes firmly cemented together and
incrusted with dirt, and resists strongly all ordinary attempts
to separate it. Pour lard oil over the face of the type, rubbing
it in thoroughly with a soft rag ; then wash in strong lye with
a brush and cleanse with hot water, and every type will be
found loose and clean.

Another Remedy for Sticky Type. — A printer writes
that he has experienced great annoyance in this line. After
trying every plan suggested, with but little relief, as an
experiment the foreman lifted a column of matter to a galley,
and, after slightly locking it, took the benzine can and ejected
benzine upon the face of the matter, then with fingers and
thumbs worked the type back and forth slightly, but thoroughly.
After standingalittle while the matter wasthoroughiy saturated,
and the caking of the type was found to be cured. If this
experience is worth anything to the sore-fingered and dis-
couraged distributor of new type, the object of this paragraph
is accomplished.

Emergency Wood Letters. — A few sticks of elastic
glue are useful in a jobbing office. Very often an extra wood
letter is wanted for a line, above the number supplied in the
fount. This can generally be met by a little alteration or
addition to another. Thus an A formed from V and vice versd,
B from P, H from two IPs, M from W, and by cutting L from
T, etc., and in case the original letter is required it is but the
work of a minute to either cut away the glue or to add it if
the letter has been cut. A gas-jet and a pocket-knife is all
that is needed. Work with the blade of knife heated.

COMPOSING ROOM. 17

First Use of the Setting-Rule. — This useful little
implement was quite unknown to the early printers, and up
to the time of its first adoption the lines of type (except in the
case of th» larger founts) varied in length like the lines of the
manuscript, because the compositor was unable, without fre-
quently breaking the line, to shift the words in order to increase
or decrease the normal space between them. When setting-
rules were devised, it so facilitated this operation, and, by
making all the lines of an even length, so improved the sym-
metrical appearance of the pages, that no printer, after once
trying it, returned to the old plan. In 1467 Ulric Zell, of
Cologne, was unacquainted with this improvement, but as, out
of the great number of works which issued from his press, it is
a rarity to find lines of an uneven length, it is safe to conclude
that he adopted it about 1468-69. But Meinsion, at Bruges,
did not use it till 1478, ten years later, while it took nearly
ten years more to cross the Channel to Westminster, where
Caxton adopted it in 1490.

Twisting Brass Rule. — Work and designing in brass
rule are now the most popular means of ornamentation, and a
few practical hints may be helpful. We (" Inland Printer ")
soon learned to bend leads by heating them ; but it was years
before we learned that brass rules, even as heavy as nonpareil,
could be easily bent after heating and allowing to cool. The
rule must not get too hot, or it will melt ; keep watch on it
and remove it from the fire before reaching white heat.
Circles, ovals, curves, and flourishes may thus be easily made
at pleasure ; and even letters for initials, very neat and
unique in appearance, may be produced with only a file, a
vice, and a hammer for tools. For most rule-work ten-to-
pica rule will be found cheaper and easier managed than the
heavier rules. When it is desirable to bend the corners of a
rule up or down, time and trouble in justifying may be saved
by cutting the rule parallel with the face, and just above the
top of leads used, the desired space, and bending it in any
direction desired. This is recommended for short bends only,
though with heavier rules it will work for a longer space. A
pair of pincers will be found very useful in doing rule-work.

THE PRINTERS' HANDBOOK.

Remember, that a good artistic worker in rule ornamentation
can make a success, and command good prices, while a poor
workman cannot do as well as a plain workman — that is, he
cannot obtain as good prices in proportion to time spent as
the plain workman. But we presume only those who have
tact, genius, and a love for this style of ornamentation, will
make a true success of it ; and we write for the multitude who
may wish or need to do something in this line, either for plea-
sure or profit. To do successful work it is necessary to have
good material and good tools to work with, and then after the
design is finished it is essential that good ink be used, and
great care be taken in presswork to bring out the effect in the
printing.

Measures for Bookwork.

The Page

> of Type

The Page

' of Type

Size.

should measure

Size.

should measure

in Pica Ems.

Length.

Width.

Length.

Width.

Foolscap.

Demy.

4to. . . .

4to. ...

8vo....

i2mo.

l2mo.

l6mo.

32mo.

Crown.

Royal.

4to. ...

8vo. , . .

8vo....

i2mo.

12mo.

i6mo.

l6mo.

32mo.

Emergency Tints. — It is said by a writer that in the
absence of the proper colours for a job wanted quickly, he
has found the artists' oil colours (retailed at stationers' shops
in collapsible tubes) to answer excellently mixed with trans-
parent tinting ink. He says " they work up well, print
clean, and look fresh and bright."

COMPOSING ROOM.

Lengths and "Widths of Pages for Ordinary
Bookwork,

With the number of Ens contained in each page ^ from
Pica to Nonpareil inclusive.

Size.

13
S

s
0
M

a
0

Ens.

Picas.

F'cap.

Ens.

4to.

2460

3243

3825

4988

5796

6900

9840

8vo.

1152

1517

1800

2346

2695

3180

4608

1 2mo.

840

1088J1295

1680

1978

2350

3360

i6mo.

570

748

888

1134

1334

1600

2280

i8mo.
Crown.

504

672

780

1020

1184

1400

2016

4to.

3264

4290

5040

6693

7696

9120

13056

8vo.

1512

1968

2340

3060

3520

4200

6048

i2mo.

1024

1369

1600

21 16

2401

2809

4096

i6mo.

736

962

1 160

1518

1715

2014

2944

i8mo.
Demy.

690

884

1073

1419

1610

1900

2760

4to.

4536

6014

6968

9240

10707

12600

18144

8vo.

2016

2640

3120

4080

4810

5600

8064

12mo.

1368

1804

21 15

2754

3190

3780

5472

l6mo.

1040

1380

1600

2109

2440

2838

4160

l8mo.

896

1184

1400

1840

2107

2491

3584

32mo,
Royal.

504

672

780

1020

1184

1400

2016

4to.

6144

8140

9401

12604

14652

17120

24576

8vo.

2592

3410

4020

5313

6142

7290

10368

l2mo.

1680

2208

2600

3420

3968

4690

6720

l6mo.

1218

1584

1872

2520

2880

3430

4872

i8mo.

1153

1517

1800

2346

2695

3180

4608

32mo.

672

896

1050

1360

1591

1880

2688

The above figures

are subject to the slight variations in founts from

different foundries.

20 THE PRINTERS' HANDBOOK.

Mitred Rule. — In examining work which has been sub-
mitted as a specimen of fine display printing, the practical and
experienced critic too often finds what to him is a terrible
eyesore, and one which is simply the result of carelessness or
indifference, and therefore the less excusable. The allusion is
to the absence of mitred corners in brass rule borders. The
greatest difficulty is of course experienced in making rule join
which has not been mitred, but there are plenty of firms who
would lock-mitre the rule for a few pence per set of four
corners, or, if such firms are inaccessible, a mitreing machine
can be obtained at a cost of a very few pounds.

A Square Inch of Type. — It is not always, when asked
for an estimate, that the printer has at hand the means of
making it. He has mislaid his graduated scale, or the matter
to be cast off is in awkward batches. A ready method, how-
ever, is suggested. It has been calculated that a square inch
of pica contains 36 ems ; of small pica, 49 ems ; long primer,
56 ems; brevier, 86 ems; minion, 100 ems; nonpareil, 144
ems; and ruby, 196 ems. Any fractions in the calculations
are in favour of the printer.

A Hint for Galley-Proofs. — See that they all are upon
full-sized slips, no matter whether one galley is a short one
or not. If submitted on a short slip, this is the one which is

generally lost.

Useful Hint for Pulling Galley-Proofs. — Many
comps. have a knack of bringing up the spaces when proofing
a galley. This can be overcome, even when using the keenest
roller, by rolling the galley diagonally, and giving the roller
a gentle twist in passing over the type.

Clearing away Leads. — In distributing leave your leads
and slugs to the last, and make one job of it. Take a long
galley, jog up your leads as they come on the galley, then pick
out the longest, next longest, and continue until you reach
the smallest, packing the assorted leads at one end of the
galley. Carry the galley to lead rack, and in a few minutes
the job will be done, while if done by the haphazard plan
which nine out of ten compositors use, much time would be lost.

COMPOSING ROOM.

Receptacle for Battered Letters. — Every compositor
should keep by him, convenient to his right hand, a receptacle
for battered letters and wrong founts, and on no account
should he throw either into the quad-box, or into some spare
box in the upper case. Where the latter plan is adopted,
very frequently it turns out that comparatively scarce letters
are thrown into it ; whereas were they placed as here
suggested, and distributed, say, once a week, much untidiness
would be prevented, and the type would all the sooner be
brought into use again. There is as much type carelessly
hidden away in the quad-boxes of some printing offices as
would fit up a small newspaper and jobbing office combined.

Comparative Sizes of Types, — The following are
the average number of ems that go to the foot. The types
of some founders vary slightly in the measurement of their
bodies.

Pica

72 ems

Minion

... 122 ems

Small Pica ...

•■• 83 „

Emerald

138.5 „

Long Primer . . .

... 89 „

Nonpareil

■ 144 »

Bourgeois

102.5 „

Ruby

... 166 „

Brevier

... Ill „

Pearl

... 178 „

Example of use of the table : — A book set in Small Pica
21 ems (pica) wide, 36 lines to a page, leaded 8-to-pica,
occupies 600 pages. If the same book should be set in
Brevier solid, 1 8 ems (pica) wide, 45 lines to the page, how
many pages will it occupy?

The proportions are as follows : — 1 1 1 : 83, 45 : 36, 18 : 21.
The fact that one book is solid and the other leaded need not
be taken into account, as the difference is shown in the number
of lines to the page. Therefore, the number of pages required
is 500x83x36x21 divided by 111x45x18=349 pages.
Ans.

Note. The faces should be of the same series ; that is,
proportional. If the Small Pica were a condensed letter and
the Brevier an extended, the number of pages would be
correspondingly enlarged and vice versa.

THE PRINTERS' HANDBOOK.

Relative Sizes of Type, from Pica to Pearl.

a;
J

Bourgeois

c
0

1 1

i3i

IQi

•7|

12!

i3i

i8i

io|

1 1

12i

14"

20I

22i

iii

12I

i5i

23"

I2i

15^

i8f

25f

i8i

20i

27|

l6i

181

22"

i7i

21I

23^

32^

i7i

21|

25i

34I

i8|

19I

2,i

261

28^

39*

22i

25|

28"

3o|

4i|

29^

28i

26i

32^

35|

48i

25i

27I

3ii

26|

32i

35l

27i

4oi

ssl

31I

35^

38I

32i

38i

45|

62|

32I

43^

47i

33|

36I

34i

42|

46i

sol

691

Scarce Founts. — It is a good plan, when putting- away
standing formes for any length of time, to " lift ' the lines set
up in type of which there is likely to be a scarcity, and re-
lock up.

COMPOSING ROOM. 23

The Origin of Italic. — The form of Roman now known
as Italic was originally called Aldine. The first volume
printed in this character had the capitals with their stems
upright like those of the current round hand. These first
editions were the works of Virgil, printed by Aldus Pius
Manutius, in 1512, and it is known that this celebrated printer
made use of a manuscript text entirely copied by Francesco
Petrarca. Thus, it is said, that Manutius desiring to pay
public and reverent homage to the author of the Canzoni,
appropriately wished a hanging character cut in imitation of
his writing, intrusting the design and the cutting to a skilled
artist, one Francesco da Bologna. But the fashion of these
editions in cursive italic type lasted only a short time, having
been imitated by foreign printers in a careless and illegible
manner. The cursive character was at that time known both
in Italy and outside of the country under the name of Aldine,
but later the title of cursive was given to it from the writing
of the Roman Chancellery, called cursiveti seu cancellarii ; a
title which in Italy has superseded every other.

Accented Letters may be easily and effectually made
by the shoulder of the letter being cut off, say, one-sixth of
an inch, and, in the case of a diaeresis accent, soldering on
the top part of a colon with a small blowpipe ; the letter
afterwards being filed and dressed. Other peculiar and ac-
cented letters can be made equally well : a little thought
and ingenuity will overcome many obstacles.

Mallet, Shooter, and Quoin. — No end of time is
wasted in perpetually having to take these useful articles out
of a drawer whenever they are wanted. The proper place
should be at one end of the surface, and that divided off into
two portions — one-third for the mallet and shooter, and two-
thirds for the quoins ; by so doing they are always at hand.
If there is any objection as to its being in the way, an arrange-
ment might be effected where this shelf could be slid under
the surface whilst any correction was being made. The
whole side arrangement need not be more than six inches in
width.

24 THE PRINTERS' HANDBOOK.

The Water Jug and Sponge. — One of the most dis-
reputable combinations in a composing room is the water jug
and its sponge. Generally it is a beer jug with its handle
broken, or a beer can with the handle off, to hold the water,
and for a sponge in hundreds of cases, a lump of paper.
Such articles do not tend to raise the tone of the workmen,
neither do they show the manager in a very good light, as he
is responsible for every detail. A man to rule comps. must
have the eye of a hawk, and an almost despotic will, otherwise
he will find himself simply the manager by name. Comps.
are extremely shrewd, and if an advantage can be taken, such
as coming in late, leaving cases on frames, cutting leads and
brass at will, etc., they are sure to do so, and the only one to
blame is he who lets them perpetuate an error.

A Useful Tip. — All compositors appreciate the difficulty
of cutting a strip of card the exact length of a measure, and
the annoying result of getting it too long or too short. This
trouble can be overcome by cutting the card a little short, and
then cutting it in two in the centre diagonally. The card
will then come out true at each end, will bear on the type
at all points, and if it swells will spread inwards.

Lifts and Formes. — In large houses the compos-
ing and machine rooms represent the two extremes of the
building, therefore the formes have to be sent down in the
lift. No provision whatever is made in the lift for the pro-
tection of the type ; consequently, it is a frequent occurrence
to see the comp. running downstairs to repair a battered
forme. Just the same thing happens again when the formes
are worked off; the man who takes them out of the lift lays
them where he can find room, and if no one happens to be
looking he is not particular whether the faces are together or
not, and small blame to him, as such things ought not to be
left at his discretion. A cheap and lasting way out of the
difficulty would be to procure, say, fifty demy stout straw
boards, and then give instructions that no forme is to be put
anywhere without one of these boards. The remedy is simple,
and does away with the use of many a quoin, which, after all,
is liable to slip almost at any moment from a set of formes.

COMPOSING ROOM. 25

Display Founts. — Keep these types in double cases,
with spaces and quads. Two founts of any one size may
generally be kept thus, and there is then no need to go to a
fresh case, perhaps in a different part of the office, to space
out, or to get rid of the spaces in distributing.

Displaying of Titles. — Aim at simplicity, whether a
crowded or open title-page. Do not use fancy types, and
rarely a black letter. If the work is in modern or old-style
type, use the same period of face, and do not mix the two
kinds. Good round letters are preferable to any condensed
fount, and if red lines are used in the title, it is best to
balance the colour by having, say, a red line at top and again
at bottom. In large pages, a line in the middle might also be
introduced.

Picking Sorts from Standing Matter. — If this is
absolutely necessary, never leave a forme with a single letter
taken out without " turning " for it. It frequently happens
that a standing job gets worked off from a forme which has
been picked by some careless workman, whereas, had he done
as suggested, the faulty line would have presented itself on
the first impression being taken, when matters might have
been remedied.

The Value of Good Chases. — A well-made true chase
is absolutely necessary for good printing, and will save much
worry, and in the long run much money. A roughly-made
chase, welded in the corners, the lumpiness of its inside
surfaces merely scratched down with a coarse file without
reference to smoothness or squareness, is a very expensive
article in a printing office, even though it cost nothing at all.
It throws type off its feet, so that it looks badly in print and
wears out rapidly. It is extremely liable to pie formes, and
one pied forme costs more than two good formes. A poor
chase just as it comes from the forge will cost less than one
finished by the most perfect machinery ; but a fine machine-
finished chase will cost a great deal less than one finished by
hand, and have a uniformity the hand-finish cannot approach.
Like almost all kinds of printers' machinery, the best is the
cheapest.

THE PRINTERS' HANDBOOK.

The Use of the Long f. — The old-fashioned and long f
should be only used as an initial or medial to any word, and
not as a final. The ligature letters containing the long ( also
should be adopted when they fall together, as the serif of the
f would not allow the following ascending letter to close up to
it without breaking off, as these letters will show : ft, fh, fb, fk.
Double fT and ffi are cast likewise in one piece, but in no
instance must a long f actually finish a word ; the letter
attached to it, when a ligature, of course may do so.

Approximated Table of Type-Founders' Sizes.

Caslon
and Co.

V. and J.

Figgins.

T3 .
(U C

Miller and
Richard.

Stephenson
and Blake.

English

Pica

ems to ft.
64

82i

lOlf

1 1 1

1 2 1 — '—

ems to ft.

71^

101/^
io8i
122

ems to ft.
64i

82H

88J

102

iio|

122

ems to ft.

71^

89
102|.
I 1 1
122

ems to ft.

64i

72i

89
102
iiof

122|

Small Pica

Long Primer

Bourereois

Brevier

Minion

Ingenious Printing Device. — An invention, devised
by a printers' engineer in London, accomplishes, it is said, a
decided reduction in the cost of such printing surfaces as types
and blocks, enabling them to be produced in a much shorter
time than is at present practicable. A layer of composition
of glue and glycerine or treacle, such as that used in the
manufacture of printers' rollers, composes the printing surface,
being mounted upon paper or straw board, then upon a wood
or metal base, type high ; a rotary cutter is then used to cut
out the required letters or design from the composition, the
surrounding material being stripped off". The design may be
in intaglio, or relief, as desired.

COMPOSING ROOM. 27

Bastard Types. — Many printers and even typefounders
apply the term " bastard" to types without knowing its mean-
ing. Small pica and bourgeois are no more " bastard " types
than long primer or pica. A " bastard " fount is one where
a face from one size is put upon a body of another, as minion
upon brevier body or vice versa. Small pica, bourgeois, etc.,
were first termed " irregular " bodies because they varied
from an imaginary standard instituted by someone in the
early history of printing — probably based upon the difference
of a sixth of a pica between sizes, as between pica and long
primer, long primer and brevier, etc. As founders now make
their bodies and faces by numbers it is doubtful if any real
"bastard" founts can be found, except upon some of the daily
newspapers, which demand large faces upon small bodies.

Difference between Type Bodies. — The following
list will show the degrees

Between Small Pica and Pica 8 to pica.

„ Long Primer and Small Pica .16 „
„ Bourgeois and Long Primer ... 10 „

„ Brevier and Bourgeois 20 „

„ Minion and Brevier 16 „

,, Emerald and Minion 30 „

,, Nonpareil and Emerald 18 „

,, Ruby and Nonpareil 16 ,,

„ Pearl and Ruby 30 „

„ Diamond and Pearl 24 „

Stone Type. — It is announced that an attempt is being
made to make printers' type of artificial stone. It is claimed
that this stone can be readily moulded, and is cheap ; that
it is hard, yet sufficiently elastic to bear great pressure without
injury, whilst the type moulded from it will readily take up,
retain, and give off the ink. Of course it is much lighter than
the ordinary type-metal. Another inventor has promised to
produce for us galvanized large-sized wooden type, — the top
of the letter only receiving a coating of copper by a galvano-
plastic application.

28 THE PRIiXTERS' HANDBOOK.

W^hat makes Durable Type-Metal? — Printers as a
rule labour under the impression that type, to wear well,
must be made of hard metal. This idea is now being com-
bated as a fallacious one, and an article on this subject says
that the deep-rooted notion that hard metal makes the most
enduring type is a mistaken one. It boldly takes the ground
that the claims for a hard metal are a delusion and a snare,
arguing that the mistakenly-prized hardness is obtained by
using a large proportion of antimony, the cheapest of metal
next to lead ; and that hard type, under the action of the
planer and the press, and also in distribution, will suffer in
the fine lines and serifs, these being easily broken. These
grave objections can be readily obviated by making type of a
metal that is not only hard but tough, and to accomplish this
desideratum tin and copper, the most expensive metals in the
alloy, should be freely used.

Type-Metal. — Joseph Moxon, who was the first writer
upon the technique of type-founding, printing, etc. (1683),
gave as his receipt for type-metal the following proportions :
25 lb. of metal lead to 3 lb. of iron and antimony melted
together. In Germany about the middle of the last century,
according to Smith, type-metal was a mixture of steel, iron,
copper, brass, tin and lead. We read of a printer who cast
types " after a peculiar manner, by cutting his punches in
wood, and sinking them afterward into leaden matrices ; yet
the letters cast in them were deeper than the French gene-
rally are."

Borders. — To be agreeable these need not surround a
page if it presents a more agreeable effect when run upon two
sides only. Still, the idea of uniformity and perfect balancing
of parts is followed so tenaciously by many printers that they
seem to find it impossible to use borders and parts of designs
decoratively. The Germans particularly adhere to the exact
and ponderous style, and while their work is, in many instances,
exceedingly beautiful, it is quite as frequently so heavy as to
be displeasing. The happy medium between the two extremes
of excessive ornament and meaningless and insufficient orna-
ment is one which only practice and observation will teach.

COMPOSING ROOM. 29

Printing Music as it is Played. — An apparatus has
been invented which, when placed in electric communication
with a pianoforte or other keyboard instrument, prints the
music as it is being- played. The machine is driven by clock-
work. When in motion a band of paper is drawn through
the machine, and during its passage is ruled with the staff
lines and passes under a number of small marking wheels,
which correspond to the keys of the pianoforte, and it is here
that the music is recorded. The notation in which the music
is recorded is not the ordinary one. When a note is depressed
on the keyboard, which is in connection with the recording
machine, the corresponding wheel will begin to mark, and the
length of the line made will be in proportion to the length of
note. Thus, if a line a quarter of an inch in length represents
a quaver, a line an eighth of an inch will represent a semi-
quaver. This system of notation is easily translated into the
ordinary notation by anyone who understands the latter.
The connection with the keyboard is obtained by a pin fixed
under each note which dips into a small cup of mercury.
This arrangement in no way interferes with the touch of the
keyboard.

A New Method of Music Printing. — Set up the
staves in brass rule and work them first, then by means of
special music types set up the musical notes, rests, bars, and
other signs. These are all set to gauge, and then the forme
is printed off on the sheets already bearing the staves, the
only requisite being accurate register. By this system music
may be printed in several keys from the same forme of type,
all that is needful being to remove one or more leads from
the bottom of the page to the top, or vice versa.

"Wooden Furniture.

Double Broad is 8 ems pica wide.
Broad & Narrow 7 „ „

Double Narrow 6 „ „

Broad 4 ,, „

Narrow 3 „ „

the smaller sizes come under the head of "reglet."

THE PRINTERS' HANDBOOK.

Preservation of Type-Cases. — To protect type-cases
and boards against the influences of damp, German manu-
facturers of such are treating the different parts of them with
hot oil, impregnating them thoroughly before putting them
together. They will never warp after having undergone this
treatment.

Number of Leads in a Pound.

Lengths

4 to
Pica.

4 ems

5 ems

6 ems

7 ems

8 ems

9 ems
ID ems

1 1 ems

12 ems

13 ems

14 ems

15 ems

16 ems
1 7 ems

18 ems

19 ems

20 ems

21 ems

22 ems

23 ems

24 ems

25 ems

144

1 12

82
72
64
56
52
48
44
41
38
36
34
32
30
28

27
26

25
24
23

6 to

8 to

Pica.

216

288

168

224

144

192

123

164

108

144

128

1 12

104

Lengths

4 to
Pica.

26 ems

27 ems

28 ems

29 ems

30 ems

31 ems

32 ems

33 ems

34 ems

35 ems

36 ems

37 ems

38 ems

39 ems

40 ems

41 ems

42 ems

43 ems

44 ems

45 ems

46 ems

47 ems

22
21
20
20
19
19
18

17
17
16
16
15
15
15
14
14
14
13
13
»3
12
12

6 to
Pica.

31
30
30

27
26

25
24
24
23

22
22
21
21
21
20
19
19
18
18

S to
Pica.

44
42
40
40
38
38
36
34
34
32
32
30
30
30
28
28
28
26
26
26
24
24

The Preservation of Page-Cords. — These may be
rendered very durable by putting for an hour in a solution of
lime, drying, and subsequent immersion in tannin. After
being taken out and once more dried, they are saturated with
oil.

COMPOSING ROOM. 31

Zinc Rules. — Zinc will not stand atmospheric influences
— the face will oxidize, and crumble away in time. The
mixture of zinc, also, either with stereo plates or types, is a
fatal error.

A New Method of Making Blocks for Tinted
Patterns has been patented by a machine-minder at Berlin.
He uses all sorts of textile matter, preferably linen or cotton
damask, with woven-in flowers or other figures, and begins by
putting them in a bath of tannin and spirits of wine for
twelve hours. Then it is inserted in a frame which may be
extended by means of screws and wedges equidistantly, to open
somewhat the space between the threads ; then the frame
with the matter is put in a drying-chest, and exposed to a
heat of aojto 25° Celsius. An hour later the heat is raised
to 50° C, and molten beeswax is spread on the textile matter,
which is still left for a space of about nine hours and at a
heat of 70° C. in the drying-chest. Then the third process is
come to. A solution of resin of Damar in turpentine is
spread over the textiles ; after remaining again for two hours
in the chest, that process is repeated, and the drying con-
tinued from two to three hours. Now it is ready for printing,
and may either be stuck by a strong glue on a basis of type-
metal, or nailed on a wooden block. Such plates may be
prepared nearly to any size, print much easier than large
plates of metal, and last for very long numbers. If desirable
to show wording on them, it may be done by cutting the
types out of strong paper and pasting them on the printing
cylinder after having finished the making-ready. The power
of the printing will then be stronger on those parts, and the
parts of the paper met by the extra pressure will, of course,
appear some shades darker than the other parts of the tint-
plate.

Overrunning Type in Corrections. — Many composi-
tors in correcting do not overrun the matter as they ought to
do in the stick, but on the stone, and frequently hair-space or
treble-space a line, in order to get in or drive out a word;
when by overrunning a line or two forward or backward they
might preserve uniformity.

32 THE PRINTERS' HANDBOOK.

"Weight of Type Required for a Job. — Divide the
area of the page expressed in pica ems by i 28. The answer
gives the number of lbs. weight in the page. 50 per cent,
for small founts, and 30 to 40 per cent, for large founts,
should be added to allow for sorts, &c.

Example : I have to set fifty pages of Brevier octavo, the
size of the page in pica ems being 20 X 34. What fount of
type should I order ?

The area of each page is 20 x 34, equal to 680 ems pica ;
divide by 128 and multiply by the number of pages, $0. The
result is 266 nearly. Add 40 per cent, and the sum will be
372 lbs. Ans.

The Sizes of Types.

Double Pica is 2-line Small Pica.

Paragon is „ Lg. Primer.

Gt. Primer is „ Bourgeois.

English is „ Minion.

Pica is „ Nonpareil.

Small Pica is ,, Ruby.

Lg. Primer is ,, Pearl.

Bourgeois is ,, Diamond.

4I ems Gt. Primer is 1 inch.

S\ „ English is

6 „ Pica is

7 „ Small Pica is
8f „ Lg. Primer is
9| „ Brevier is

12 ,, Nonpareil is

1 71^ ,, Diamond is

Brevier is ,, Minnikin.

A shilling standing edgewise is type high.

The Setting of Half-Measures. — Matter set to two
measures can, with a little practice, be just as easily managed
by scraping a line on the setting-rule with a bodkin, and
spacing to the engraved line, as by using a clump or lead as
a '"jigger." To make this clear, we will suppose you have
first column 12 ems and remainder 14 — 26 in all. Mark
your rule 12 ems from the front, and, in setting, space out
to line engraved, then complete the line (the remaining
14 ems) in the usual way. Of course, if the columns are to
be divided by rules, it will be safer to adopt the old method of
using a "jigger,'' but if not, the foregoing plan will be found
quite satisfactory, especially after a little practice.

COMPOSING ROOM. 33

Rough Proofs. — It has been said, " Never show a rough
proof to a foolish client." We would go much farther — never
show a rough proof to any client. Printers lose far more
than they have any idea by showing rough proofs. To begin
with, the client is disgusted, and first impressions [the pun
forced its way in uninvited] are everything. It is no use
saying, " This is only a rough proof," because for any meaning
it conveys you may as well say "Abracadabra folderiddlelol."
A client has been known to take a rough proof and show it
round amongst his friends as a specimen of so-and-so's
printing. There are successful printers who at an early stage
of their career grasped the force of what we advance. From
the first they got out their proofs in a workmanlike manner
on good paper, and great has been their reward.

Leads required to Justify with Type from Pearl
to Great Primer inclusive.

Pearl One four and one eight-to-pica.

Ruby One four and one six-to-pica.

Nonpareil Two fours ; three sixes; or four eights.

Emerald One four, one six, and one eight.

Minion One four and two sixes.

Brevier Two fours and one eight.

Bourgeois Three eights and two sixes.

Long Primer... Three fours ; or six eights.

Small Pica Two fours and two sixes.

Pica Four fours ; or six sixes.

English Three fours and two sixes.

Great Primer . Four fours and two sixes.

The Care of Twisted Rule. — When this has been used
for ornamentation, and is turned out in distribution, it should
be placed in a conspicuous position for future use, and not
planted or hid by the person who happened to " twist " it in
the first instance. Where this " planting "practice is allowed
it must necessarily result in a much greater amount of rule
being bent than need be for the requirements of the office.

34 THE PRINTERS' HANDBOOK.

New Composing Stick and Rule Cutter. — A prac-
tical printer of Camden, New Jersey, has invented an ingenious
improvement. This improvement consists of a gauge, designed
for both stick and cutter, by which either can be instantly and
accurately set to any desired number of ems, pica or nonpareil,
without the use of leads, rules, or quads. The cutter has
along one edge a row of grooves, a pica em apart, which
engage the lugs on the gauge. The cut is a sheer cut from
the front, preventing slipping, and the lengths absolutely
accurate. The stick sets with a thumb-screw, reversing to
half measure, and marks indicate the length set to. There is
no necessity to gauge with rules ; on the other hand, the
correctness of rules or leads may be tested with the stick.

The Composing-Stick was first introduced as a printer's
tool in 1480. Previous to this the method of composition
was by taking the letters direct from the bo.xes, and placing
them side by side in a coffin made of hard wood, with a stout
bottom, and kept tight when completed by means of screws
at the foot.

A New Composing-Stick has a movable arm which
comes at the beginning of the lines, is in two parts, and
secured by two screws. By loosening the one which is
nearest the matter it can be instantly set for a half or third
measure, or for any number of ems, while the moment this
ceases to be requisite it can be drawn back till it meets the
other part, when it is again at the full measure without a
second's loss.

Poster Founts. — Where bill type is kept in open cases
or trays, difficulty is often found in stowing away large founts
or expanded ones, as they take more than one case. If the
racks are arranged side by side, then the heavier founts can
be placed in trays in two or more racks parallel with each
other, and each drawn out while getting or distributing a line,
which is much better than having them underneath each
other, for obvious reasons.

COMPOSING ROOM.

Tables of Signatures and Folios.

No.

Sigs.

Folio.

4to.

8vo.

h Sh.
8vo.

i2mo.

i Sh.
i2mo

i6mo.

i8mo.

109

129

145

121

161

181

145

193

217

113

169

225

253

129

193

257

289

145

217

109

289

325

161

241

121

321

361

177

265

133

353

397

193

289

145

385

433

105

209

105

313

157

417

469

113

225

113

337

169

449

505

121

241

121

361

181

481

541

129

257

129

385

193

513

577

137

273

137

409

205

545

613

145

289

145

433

217

577

649

153

305

153

457

229

609

685

161

321

161

481

241

641

721

169

337

169

505

253

673

757

177

353

177

529

265

705

24mo. 1

185

369

185

553

277

737

193

385

193

577

289

769

101

201

401

201

601

301

801

105

209

417

209

625

313

833

145

109

217

433

217

649

325

865

193

113

225

449

225

673

337

897

241

117

233

465

233

697

349

929

289

121

241

481

241

721

361

961

337

125

249

497

249

745

373

993

385

129

257

513

257

769

385

1025

433

133

265

529

265

793

397

1057

481

137

273

545

273

817

409

1089

529

141

281

561

281

841

4.21

1 121

577 1

THE PRINTERS' HANDBOOK.

American Point System
publish the following on the 12-

oint Body.

Old Name.

Excelsior.

—

Brilliant.

Semi-Brevier.

Diamond.

Pearl.

Agate.

Nonpareil.

Minion,

Brevier.

Bourgeois.

Long Primer.

1 1

Small Pica.

Pica.
\ 2-line Minion.

[ English.

2-line Brevier.

Great Primer.
3-line Nonparei

. — Messrs. Mackellar and Co.
■point = pica system : —

Point Body. Old Name.

2-line Long Primer.
Paragon.

2-1

ne Small Pica.

2-1
2-1

ne Pica,
ne English.

5-1
3-1

ne Nonpareil,
ne Small Pica.

4-1

2-1

ne Brevier.

ne Great Primer

3-line Pica.
Double Paragon.

7-1
4-1

ne Nonpareil.
ne Small Pica.

Canon.

4-1
5-1
9-1

5-1
6-1

ne Pica,
ine Small Pica,
me Nonpareil,
me Pica,
ine Pica.

22 =
24 =
28 =
30 =

32 =

36 =

40 =
42 =

44 =

48 =

54 =
60 =

Margins for Books. — The tendency of the earlier part
of the century, by which we were given liberal margins to
books, now seems to be much altered, and the width of the
pages has been materially diminished. It would seem that
publishers are now anxious to get as much upon the leaf as
possible, and every expedient is resorted to for that purpose.
This is not only the case with publications like magazines, or
with heavy volumes like cyclopaedias, but has become the
rule with histories, biographies, and critical works. It deprives
the binder of the paper necessary for him to use to make the
appearance of the book symmetrical, and forces him to place
the reading matter so near the back of the leaf that it is with
difficulty the book can be opened wide enough to allow it to be
read. This is not as it should be. No book should be imposed
or worked without allowing sufficient space between the pages
for all the exigencies of the binder, and, except in very small

COMPOSING ROOM. 37

or thin books, the half-inch or so which is allowed is insufficient.
The calculation for space must be made when the plan is first
laid out, and no considerations of economy should be permitted
to interfere with a liberal allowance. The proportion which
good books ought to have was settled by the early French,
Italian, and Dutch printers two centuries ago, and has since
been always followed by those who know anything of their
business. The top and inner margins are comparatively
smaller than those at the outside and bottom of the page,
which are very liberal. In this way the shears of the binder
occasion no great destruction, and to this action of the cele-
brated typographers and binders of early days we owe the
preservation of the works upon which they bestowed so much
care, which by our modern careless usage would have tumbled
into pieces of themselves in a few years.

The Distribution of Jobbing Types. — The plan
adopted by many large printing firms, of having one person
attend to all the job-type distribution of an office, is a sensible
one, and we wonder that the rule is not more generally observed.
It would doubtless be a difficult matter to find two establish-
ments that lay their cases alike ; and this is one of the impor-
tant reasons why it does not pay to intrust the distribution of
valuable job-type to every hand that may be put to work.
The misplacing of a few characters of a fount would, in some
instances, render it entirely useless. This is not an un-
common occurrence in large printing offices. A printer will
often spend more time hunting through the cases for missing
letters than it takes him to set the job. Display sorts not
only cost much, but it takes time to procure them.

Cutting Reglet and Furniture. — Never cut up short
pieces to make shorter ones. This leads to great waste. But
when a piece of the required length cannot be found, cut one
off a new length and put it away carefully in its order. If
this plan is followed, in a short time there will be plenty of
pieces of all lengths without resorting to the saw, while on
the other plan you are continually cutting and never have an
adequate supply.

38 THE PRINTERS' HANDBOOK.

A Place for Cuts. — The too common practice in print-
ing offices of dropping cuts and stereos, of all kinds " wherever
it comes handy," — on top of racks, in sort cases, or under the
stone, — is not only slovenly, but it is inconvenient and waste-
ful. The time lost in hunting them up under such cir-
cumstances, in a moderately busy office, would soon pay for a
cabinet for their reception. In every well-regulated printing
office there should be a suitable receptacle for these blocks,
properly labelled, and if catalogued and indexed, so much the
better. If the cuts aggregate a large number, a cabinet, espe-
cially made if need be, should be provided, where every one
should have its appropriate place, to be kept there when not in
use.

A Plea for New Founts. — It may be urged that the
frequent buying of type loads an office down with too many
styles; that cases cost money as well as type; and that,
finally, the investment becomes greater than the business
warrants. But we do not believe in retaining all the old or
obsolete things, for they become unprofitable tenants after a
time. Clear out all the oldest founts, making case room for
the new. The old type has paid its way and served its
purpose well ; but now it is rarely, if ever, used, and its value
as old type, towards the purchase of new, will be plainly
greater than the idle occupancy of the cases. By rotating
carefully in this way the cost will not be felt.

Blocks for Tinted Grounds. — These are made, as is
well known, of various materials, such as brass, type-metal,
box or other wood, celluloid, etc., and a printer in any great
commercial centre is always able to satisfy his requirements
almost at a moment's notice. Not so his brother in the pro-
vinces, who may be seriously inconvenienced when one of his
customers takes a fancy to colours. The way small German
printers help themselves may, therefore, be read with advan-
tage. They take a very smooth and even glazed board, such
as is used in pressing and glazing the paper after printing, and
cut two or three pieces out of it, a little larger than the desired
tinted block. A similar piece is cut out of common paste-

COMPOSING ROOM. 39

board, well sized and smooth, and the whole is then formed
into a layer with best glue, and stuck, also with glue, on a
solid wooden board — oak will suit best — so as to form a type-
high block. This done, the block is put into a glazing press,
or into a letter-copying press, or you may simply put boards
and heavy weights on it, just to let it dry under severe pres-
sure, care being taken that the pasteboards are well united
to each other and to the wooden block, as the result depends
on it. When the wood and paper block is completely dry, the
transfer may be made. The forme to which the tinted block
is to fit is locked up in a frame, as also is the block itself, the
latter being disposed so as to fit in the composed matter as
exactly as possible. Then this last one is lifted into the press
or machine, and, after being well inked, one pull is made from
it on to a sheet fixed on the tympan or cylinder. This done,
the formes are changed, the block forme taking the place of
the composition forme, after a sheet of thin pasteboard, of the
thickness of common Bristol board, has been put on the bed
of the press, to raise the block a little above type height to
give more effect to the pull. The tympan, still bearing the
impressed sheet, being now brought down and a pull taken, a
negative copy of the contents of the forme will be obtained on
the glazed-board block, the cutting of which may now be pro-
ceeded with. That operation is best effected with a thin pen-
knife, or even with a small chisel, care being taken to cut in
an outward slanting direction, to give the printing surface of
the block a larger and stronger basis. When the cutting is
finished, the block is ready for printing; but should the num-
ber of copies to be printed from it be large, it is better to give
it first a coating of varnish. A coating of shellac, diluted in
alcohol, applied twice, has proved most effective, and will
stand the printing of 10,000 copies before any change is to be
observed. In cleaning, lye must be avoided, and only a little
petroleum or turpentine rubbed over with a smooth rag.
When the tinted ground is to show a pattern, this may be
obtained by sticking embossed paper on it, taking care to fill
the indentations of the paper well with stiff glue, and to paste
it thus on the block. When dry, it may be varnished and
printed from as before stated.

40 THE PRINTERS' HANDBOOK.

Metal Tint Blocks. — Blocks of type-metal are often
used in printing tinted grounds, but prove dangerous to fine
and delicate-coloured hues, as dirt rnay be on the surface
without being visible to the eye. To keep them perfectly
clean is therefore a strict necessity, and that is best arrived at
by sprinkling them with benzine and wiping it very smoothly
ofF with a soft bit of rag. Hard rubbing entirely to be avoided,
as it will immediately soil the metal-blocks.

Proper Names. — As an interesting and valuable compa-
rison of the number of capital letters required for an average col-
lection of proper names, the following table has been published
of names in the " New York City Directory," containing 313,992
names beginning with each letter of the alphabet : — A, 7,643;
B, 29,721; C, 21,808; D, 16,016; £, 5,971; F, 14,408; G,
15,560; H, 24,842; /, 1,106; J, 5,429; K, 15,798; Z.,
15,097 ; M, 34,048 ; N, 5,604 ; 0, 5,924 ; P, 10,540 ; Q, 919 ;
R, 15,927; 5,33,652; r,8,098; f/, 1,114; ^^,3,728; W,

18,663; X, 10; r, 913; z, 1,453.

Electro-Matrice Type-Founding. — Electro-matrices,
as used by some founders, are made in three parts of brass
and copper combined, through the agency of an electro-
battery, and are liable to swell or vary in line, height, and
thickness ; not having an angle to assist the type in its
delivery from the matrice, is smaller than the original, has a
rough-looking appearance on the sides and back nearest the
face, and in every respect inferior to type produced through
the agency of steel punches driven in copper.

An Elastic-Faced Printing-Type is a recent invention
constructed upon an entirely new plan, which involves the
least possible amount of wear and friction, prints with the
greatest ease, and insures the most perfect results yet
attained. It consists of a hard-bodied printing-type, whose
printing character is made integral with the body. An elastic
coating or cushion is moulded and vulcanized to the type body,
the character projecting into the elastic coating, forming an
elastic-faced printing character, which is supported and
secured firmly in place by the type.

Abstract of the London Compositors' Book Scale.

c
0

0
0

B
W)

■3
0

Dictionaries.

Catalogues.

Greek.

c
W

S
0

bjo B
II

Book-
sellers'.

Auc-
tioneers'.

is
11

■5S

English to 1 (leaded
Brevier J \ solid

d.
7i

d.
71
84

71
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8i
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' English to "1 f leaded
Brevier J \ solid

74
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61
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^""o- {S'

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7

74
8i

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lof 12

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Reprints not in every respect exact rcprodvictions of the originals, are cast up \d. per looo extra ;
Reprints with MS. insertions \d per looo extra.

Stereotyped matter with high spaces is cast up \d. per looo extra ; Stereotyped matter with low
spaces is cast up \d. per looo extra.

Thin founts are cast up \d. per looo extra for every en below 12 ems of their own body.

Bastard founts of one remove are cast up to the depth and width of the two founts.

42 THE PRINTERS' HANDBOOK.

Locking up Formes for the Foundry. — Great an-
noyance and danger is often experienced in electrotyping
from formes which have not been properly locked up. A
proof taken from a forme after the quoins have been pushed
up with the fingers may show every line straight and everything
in its proper place, when, after finishing the lock-up, the
tightening of the quoins with the mallet and shooting-stick or
wrench will produce displacement of lines and types alike
provoking and unsafe. Formes for electrotyping should be
locked up even more tightly than when sent to press ; for the
adhesiveness of the wax mould is more likely to draw letters
than the suction of rollers. The forme should be well planed
down after the final locking up — care being taken that no dirt
or other extraneous substance is under it — to insure its being
perfectly flat. A proof of every forme should be taken after
the final lock-up, and this proof carefully examined to see that
nothing has been dropped or displaced. A clean proof should
be sent with the forme to the foundry, that the electrotyper
may have an opportunity to examine it, and to repair any
damage that may possibly happen to the forme while in his
hands. Before locking up a forme, type-high bearers at least
a pica in width should be placed around it, and between (and
close to) the several pages, if there are more than one. Open
spaces, as about headings, blank pages, etc., should also have
bearers made by placing types in blank spaces. These
bearers serve the double purpose of guards for the matter in
the formes, and enable the workman to have something to rest
the plates upon when finishing them.

Ordering Sorts. — The twelve square boxes directly in
front of the compositor, containing the letters a, c, d, i, m, etc.,
will hold about 2 pounds each. The boxes half the size of
the " a " box will hold 1 5 ounces each, containing the letters
f, b, g, 1, p, etc. The small square boxes containing the
letters k, j, q, etc., will hold 6 ounces each. The " e " box 3
pounds, and the cap case 5 ounces to the box. The best way
to order sorts for display type is to do so by " irons." A
typefounder's " iron " is about 20 pica ems long.

COMPOSING ROOM. 43

Title-Pages. — A writer contrasts the title-pages of to-
day with those of the past, to the decided disadvantage of the
former. There can be no doubt that there was much more
character and individuality in the old than in the new. The
disposition of the type was less conventional; and the illus-
trative borders and the like had a picturesqueness of which
the glory is now altogether gone. Title-pages certainly used
to have a quaintness, and usually a special appropriateness, to
which they can now lay no claim. They had a meaning of
some sort ; they were the elaborate portals through which
the reader passed to the books themselves, foreshadowing in
some respects the matter which there awaited him. The
modern title-page is a very much simpler affair, and for that
reason alone, may commend itself to the majority. It is at
least clearly set forth and readily mastered — save, perhaps,
m a few exceptional instances, which do not count. Simplex
munditiis might be the well-deserved motto of the average
title-page as we now see it. Nor, for the greater number of
volumes, would one particularly care to welcome any more
elaborate treatment. In the old times books were few and
precious ; they were valuable, and were valued. Nowadays
only a minority are editions de luxe. The bulk are produced
less for beauty and permanence than for utility and the
moment. On such it would be waste of money and care to
bestow title-pages other than the plainest and the neatest.
Books are now multitudinous, and we are a business people.
What, therefore, is of the first importance is that the title-page
of a volume shall contain little print, and be easily conned.
A plea may be put in, on behalf of the bibliophile, in favour
of the invariable presence on the title-page of the date of
publication, for, without that, a book is like a child without
a record of its birth or baptism.

Cork Tint Blocks.— This makes an excellent tint, cut in
thin strips and mounted on block, worked over light back-
ground, and bronzed with gold, copper, maroon or fire bronze.
The small punctures which are found in cork, when printed
in this way, produce a very odd and unique appearance.
Very pretty for cards, folders, or run across corners, etc.

44 THE PRINTERS' HANDBOOK.

How to Cast-ofF Copy. — Although entirely exact
rules for casting-off copy cannot be laid down, the following
may be recommended as the result of experience. After
having made up a composing stick to the measure proposed
for the width of the work, to take an average page of the
copy, and set from it until a certain number of lines of the
manuscript come out even with a number of lines of types.
From this a calculation can easily be made for the whole of
the work. Suppose a manuscript of 250 pages, and 31 lines
in a page, be brought into an office, and it is required to de-
termine how many pages it will make in long primer, the
page being 28 ems wide and 40 lines of types in length;
and it is found, by setting up a few lines, that 9 of the manu-
script are equal to 7 of the types. Then : —

250 pages manuscript.
31 lines in a page.

250

750

7750 lines manuscript.

9 : 7750

9 ) 54250

40)602,7 lines of types.

151 pages of types.

The number of sheets can be ascertained by dividing 150 by
8, 16, or 24, according to the size of the signature in which
the work is to be printed.

Origin of Roman Type. — This character with lower-case,
modelled after the cursive writing of the twelfth century, was
first reduced to symmetry and used as a body type for book-
work in 1471, by Nicholas Jensen, a famous printer of Venice.

COMPOSING ROOM. 45

Special Sorts. — Where do they all go to — such as
fractions, reference marks, accents, italics, etc. ? Every em-
ploying printer who has had much book or news work that
called for any quantity of these sorts, has had the problem
put sharply to him by the frequent demand for fresh supplies.
On inquiry, he has traced their disappearance to the laziness
— it is nothing more nor less — of piece-hands, who, not
thinking that these sorts are likely in an emergency to be
very valuable, either throw them into the quad-box, or scatter
them promiscuously and recklessly about in the upper case.

Lock-up for Galleys. — A cheap, effective end-lock is a
piece of flexible steel, lead high, bent between side of galley
and side-stick. This can be used quickly, and is effective on
any size galley.

Fashions in Type. — There are fashions in type as in
modes of apparel ; and it is unwise to attempt to stem the
tide of fashion in these as it is foolish affectation for one to
wear knee-breeches and powdered wigs to-day. But it is
unnecessary to follow fashion to the extreme ; and the small
establishments can no more keep up with all the various
styles than a printer's wife can dress like a millionaire's.
There are certain standard faces of type that cannot be
dispensed with in any office ; but it is not advisable to choose
the oldest cuts of these. One founder may have the matrices
for the earliest styles of full-face, antique, etc. ; but many of
the latter shapes are vastly to be preferred as being clearer
cut and better proportioned. Punch-cutting has greatly
improved of late years, and it cannot be denied that a more
artistic taste prevails than existed half a century ago. Even
our plain romans are much improved, as will be seen on a
comparison between the newspapers and books of 1834 and
those of a later date. Some of the " improvements " in types,
however, have been in a backward direction, as witness the
grotesque and almost illegible styles that have appeared of
late. It is not necessary that these ugly shapes should have
place, and many of them should be utterly tabooed.

46 THE PRINTERS' HANDBOOK.

The Parts of a Type Named. — The face is the pan
from which the impression is taken. The counter is the sunk
space existing between the lines of the face. The nick is an
indentation cast in the body of the type. This is always
placed on the side leading up to the bottom of the face. The
shoulder is that portion of the type not occupied by the face.
The beard comprises the bevelled bases running from the
shoulder to the face. The pin mark is a small circular
indentation on the side of the body. This is formed by the
pin which holds the type in the upper half of the mould, and
acts as a drag to deliver the type. The height to paper is
the distance from the face to the feet of the type. The
usual height is eleven-twelfths of an inch. The body of a
type is the thickness from back to nick. The feet are the
portions supporting the type, each side of the groove, and are
formed in the process of planing off the superfluous metal left
at the point where the jet has been removed.

Type Cases. — Printers' cases should always be selected
with a view to accommodating their type in the most accessible
manner, and without crowding. Delicate faces, like scripts,
should never be laid in cap cases, or crowded into the boxes,
nor should founts without lower case be laid in italic cases.
Never lav two founts of type in the same boxes. The time
wasted in setting it out is soon enough to pay for another
case. Use cap or triple cases for all-cap founts, according to
their size, and do not under any circumstances lay delicate
faces with heavy type. Never crowd type together. It is not
only disastrous to the faces, but is a loss of time in setting.
Every printing office should have, as a part of its regular
quota of cases, a figure-case for extra figures, a space and
quad case containing all sizes for spacing job work and adver-
tisements, and blank cases for cuts, etc. These are no
luxuries, but the best of investments, and any printer who
purchases them will find that he is amply repaid in a short
time. " A place for everything, and everything in its place,"
applies with greater force to a printing office than any other
line of business in the world. It is made up of numberless
articles and appliances, any one of which is liable to be called

COMPOSING ROOM. 47

into use at a moment's notice. The most perishable and
costly portion, with the exception of fine type, are the cuts
and electros. They should, therefore, be given a safe and con-
venient place of storage. The blank, cases, which will fit
into any frame, are the cheapest for this purpose.

A Suggestion forType-Founders.— Agreat source of
worry to the painstaking printer is the ugly gap that so often
occurs in words in lines of capitals where the letters. A, W,
Y, etc., come into juxtaposition, particularly in large round-
faced founts. A great deal of time is often spent in dove-
tailing such letters by means of rude implements — such as a
saw, an old file, or a pocket knife — generally available in the
average job office. The suggestion is made to progressive
type-founders that a few in each fount of the letters (caps) A,
F, L, P, T, V, W, Y, be cast or cut with a mortice in the open
portion of them, so that they fit into one another when coming
together in a word. The word RAILWAY, for example,
would be much improved in appearance if the last four letters
came closer together by means of such mortising.

Roman Type in Germany. — Roman type and script
are making their way slowly but surely in Germany. The
society for the abolition of the old German letters, which in
1866 numbered only 2,871 members, now has 4,436 on its list,
which includes teachers, physicians, booksellers, and mer-
chants. In the last year thirty-one professors joined the
league — a notable fact. In 1886, according to Heinrich's
"Bibliography," out of 6,213 books on artistic, scientific, and
mercantile subjects 5,316 were printed in roman type. As is
well known, Bismarck has set his face stubbornly against this
reformation, which will, when fully accom.plished, be for
Germany, as well as for the rest of the world, a real blessing,
inasmuch as their barbarous system of type and script has,
as it were, shut the world out of their domain of letters.

Scarce Hair Spaces. — If you find yourself short of these,
a run round the display founts will generally produce the
desired result. They are often dropped with the letters in
distributing.

48 THE PRINTERS' HANDBOOK.

Type made from Paper. — Type made from paper is
the latest novelty. A process has been patented by which
large type used for printing placards can be made from pulp.
Such letters are at present cut on wood. The pulp is desic-
cated and reduced to a powdered or comminuted state, after
which it is thoroughly mixed with a waterproofing liquid or
material — such as paraffin oil or a drying linseed oil, for
instance. The mixture is then dried, and subsequently
pulverized. In its pulverized state it is introduced into a
mould of the requisite construction to produce the desired
article, type, or block, and then subjected to pressure to con-
solidate it, and heat to render tacky or adhesive the water-
proofing material. Finally, the type is cooled while in the
mould, so as to cause it to retain its shape and solidity.

A Mount for Illustrations. — In a recent issue of the
"Superior Printer" an imitation passepartout frame or mat
is printed round a picture. The editor thus describes how it
is done. He first took an old electrotype block and pasted a
piece of very coarse sand-paper upon it. After it was entirely
dry he took a ruler and sharp penknife and trimmed the
sand-paper to the size desired. Then he locked the block in
a chase, and after taking the rollers out of the press and
preparing the tympan he took a brush full of paste and
daubed the tympan thoroughly where the block would come
in contact with it. Then he laid over the tympan a sheet of
soft book paper, then daubed it with paste again and laid on
top of that another piece of soft paper. Then he took an
impression upon the tympan and allowed the press to remain
so for about half an hour, when the guides were set and the
job run off very quickly. Cardboard can be treated in the
same manner. Some very good effects can be obtained by
using plates made from book-cloth in place of sand-paper.
The reader will find that it is a great advantage to be able to
make one's own "Rufenuf" (rough-enough) papers and
cards, as you can do your printing first and then emboss your
job afterwards, thus avoiding the trouble of trying to do a
decent job of presswork upon the rough-surfaced papers and
cards furnished by the paper-dealer.

COMPOSING ROOM. 49

Patent-Leather Tint Blocks are said to produce most
excellent results in letterpress printing. It must be explained,
however, that patent-leather is meant and not leather that
is somebody's patent. Patent-leather, a sort of canvas with
a varnished leather face to it, is over here known as American
cloth. Use the best and thickest that can be obtained and
glue a piece rather larger than the size of the tint block re-
quired to a wooden background: squeeze out air bubbles and
keep under pressure until set. Trim down the leather to the
required size, and the tmt block, which is almost everlasting
and gives results beautifully clear and uniform, is complete.

Justification of Curved Lines. — When it is necessary
to put a curved line in a job, set the curved line first, and
secure it so it will lift and hold together independently of out-
side pressure. This can be done by setting it in a patent
brass curve and clamp, but when these are not available, set
the line in curved leads. When the line is accurately spaced,
carefully read to see that it is all right, and each letter curves
properly, take a piece of paper, put mucilage on it, and apply
the mucilage to the line. Put a little mucilage between the
paper and the curved lead. When this dries your line will
lift like a slug. Before distributing such lines, let them soak
in water, kept in a saucer, and then carefully clean off the
mucilage. This practice will save lots of time when the forme
goes to press, and if properly done will insure a perfect curve.

New Margin Gauge. — A M. Anthinous, of Caen, has
invented a new gauge for margin-making, to be used by
clickers and others intrusted with the making-up of formes of
book-work. His " Margeometer," as he calls it, is a sheet of
stout paper on which is lithographed a large triangle. This
triangle is divided by transverse lines ruled at equal distances,
and these are crossed by other parallel lines, figures being
inserted at the points of intersection to facilitate calculation.
"To determine the furniture necessary for any forme, the
printer folds a sheet of the paper to be used for the work
according to the forme, and places it on the Margeometer, the
back to the left hand and the head upwards. He now marks

so THE PRINTERS' HANDBOOK.

the place of the first line to the left which bears a number,
and thus ascertains the width of the inner margin ; then he
marks on the right hand the third line bearing the same
number which shows him the width of the outer margin." The
inventor's own description of the mode of using the apparatus,
appears to us not very lucid ; but the Margeometer must be
meritorious, as it has not only been praised by the French
printers' papers, but has won for its inventor a silver medal.

Recipe for Owltype. — Take a very heavy coloured rail-
road board, or thick glazed mill-board, and if very smooth
pass a damp sponge or rag over the surface, to take off any
heavy gloss. Then take China white, or any fine clay, mix it
with water to make a paste about as thick as common molasses,
adding a few drops of mucilage to a wine-glass full of the
softened clay. The less mucilage the better, though some is
required to prevent the clay peeling off the cardboard too
easily. Use a rag, spatula, or small pencil brush in applying
the softened clay to the cardboard, of course leaving spaces
or spots on the cardboard uncovered by the clay. These
spots will produce the solid parts when printed. The clay
dries rapidly, so that the matrix may be placed in the stereo-
typing backing-up pan and cast almost immediately. Then
block and trim and put on press.

" Chaostype " and " Selenotype " is said to be quite
simple, and consists of pouring quickly, but not continuously,
melted metal into a coW stereo casting-box in which the shape
required has previously been arranged, with the help of core
bars, or the whole box can be filled and cut to sizes afterwards.
We are informed that is the sole mystery, but the various
" chaotic " patterns are the result of practice in dropping in
the metal.

Hint for Case Racks. — Leave an empty place in all
long case racks, at a convenient height for placing a case out
of such rack in which to distribute a line or two, or to set up
a line, instead of having to carry such case away.

Relative Sizes of English and German Type

Bodies. — The following table, although not strictly accurate,
will be found useful.

Equivalent Equivalent

BODIES. in 8 to in Didot

pica leads. points.

4-line pica 32'oo 45'oo

Grebe Canon (German) 29"9o 42"oo

Doppel Text (German) 28-48 40*00

2-line double pica 2775 39'oo

Kleine Canon (German) 25 "62 36'oo

3-line pica 24"oo 3375

2-line grt. pmr. Doppel Tertia (Ger.) . . . 2275 32 00

Doppel Mittel (German) I9'92 28'oo

2-line English I7'95 25*00

Doppel Cicero (German) i7'o8 24*00

2-line pica i6'C)o 22*50

Text (German) I4'24 20*00

Double pica I3"87 I9"50

2-line long primer Doppel bourgeois (Ger.) I2*8i i8*oo

Great primer. Tertia (German) . . . . 11 '37 16*00

2-line brevier 10*32 i4'5o

Mittel (German) 9*96 14*00

2-line minion 9*25 13*00

English 8*97 12*50

English [cicero]. Cicero (German) . . . 8*54 i2*oo

English [small] 8*42 11*84

Pica 8*oo 11*25

Pica (American) 7*92 ii*i9

Brevier (German) 7*83 11 "oo

Corpus or Garmond (German) 7*12 io*oo

Small pica 6*99 9*75

Long primer. Bourgeois (German) . . . 6*40 9*00

Bourgeois. Petit (German) 5*69 8*00

Brevier 5*06 7*25

Colonel (German) 4*98 7*00

Minion 4*63 6*50

Emerald = . . . 4*48 6*25

Emerald [nonpareil]. Minionette (Ameri-
can). Nonpareil (German) .... 4*27 6*oo

Emerald [small] 4*21 5*92

Nonpareil 4*00 5*62

Perl (German) 3*56 5*00

Ruby 3*49 4*82

Pearl 3*20 4*50

Diamant (German) 2*84 4*00

4 to pica 2*oo 2*81

6 to pica 1*33 1*87

■8 to pica roo 1*40

52 THE PRINTERS' HANDBOOK.

Weight of Type for Newspapers. — Country printers
often ask how to estimate the quantity of type necessary for
a paper of given dimensions. The following will be found a
correct and simple plan : — A page of type 4 in. by 6 in. weighs
7^ lbs. Let this be taken for a starting point, and the weight
of type when set up and ready for imposition will easily be
found. Then add 40 per cent, to the weight he arrives at to
cover inequalities of sorts, and the letter necessarily lying in
case, and this will be found near enough for all practical
purposes. At the same time, make an allowance for over-
matter and possible supplements.

Border Cases. — Keep these " up," on frames handy to
every compositor, and not, as is frequently the case, on some
one compositor's frame — both in his own way and not at all
get-at-able by the other members of the staff.

Hints on Composition. — Understand your take fully
before leaving the foreman or copy hook. Time spent in this
way is profitably invested. At least read through the outlines
of the job. If pamphlet or book-work, the reading of the first
page or two will be sufficient. Formulate your plan of de-
velopment. Determine upon display lines. Spelling, style of
punctuation, capitalizing, and paragraphs, should be according
to usage of establishment. If possible, absorb the subject of
your take ; it will render work more engaging. As to rapid
composition, absolute oblivion to surroundings is essential.
Like an actor or orator, you should mentally get inside of the
subject ; shut your own other senses, and utilize that only
which is necessary to rapidity and correctness. Some have
a new sense created by rapid composition, combining mental
and physical phenomena, rare and wonderful. As in distribu-
ting, stand square on your feet, with chest distended. Hold
stick well in front, so as to be in full view of left eye, while the
right generally is manipulating movement of picking up letter
and reading copy. Type should be grasped with the right-
hand thumb and forefinger, with a sliding approach, so as to
lift with finger and balance with thumb. After catching the

COMPOSING ROOM. 53

word with the eye and mind, concentrate on the immediate
letter to be picked up, with an active plung-e of the hand
toward the box, without the pressure of nerve force if possible ;
bring back letter swiftly to stick, striking rule as near as
possible to location of word. Seize letter with left thumb and
strike out with right hand immediately for next letter. The
casting of hand into box, seizing letter without hesitancy, and
the withdrawal to stick, should be of same velocity. The move-
ment, physical and mental, generally determines the speed
of the compositor. Rapid composition comes from mental
anticipation coupled with will power. It can be cultivated.

Easy Method of Cutting Wood Letters. — A conti-
nental printer is manufacturing wood type by a very simple
process. He sticks the printed type he wishes to cut out on a
thin slice of wood, or draws it on with a pencil, using a cork-
saw to cut out the shape of the type, even out of several wood-
slice at once, putting one upon the other, afterwards fastening
the type on a solid block of wood corresponding with its size.
The finishing touch, to do away with any roughness, is given
with the graver, penknife, or rasp.

Distribution Galleys. — Do not distribute matter from
mahogany galleys, but lift on metal galleys before wetting the
matter. Galleys are soon ruined by carelessness in regard to
this. At the same time do not damp the type on the frame.

Sectional Type was first introduced into this country in
1878 by Messrs. Caslon and Co. It consists of a condensed
sanserif, each letter being cut into two parts across the
middle, which allows of the introduction of another line. It
is quite distinct from mortised types, which are not cast to the
ordinary rectangular shape, but are cut away in some of the
open parts to allow of other letters being brought up close.
Mortised types were invented by Mackellar, Smiths, and
Jordan, of Philadelphia, and patented in 1884.

54 THE PRINTERS' HANDBOOK.

A New Rule-Cutter has been invented to replace the
ordinary rule-cutting machine. It is adapted for cutting brass
and metal rules of all thicknesses, as well as reglets, side-
sticks, etc., and can also be used for trimming stereotype
plates. The article to be cut is firmly held in position by the
aid of a strong lever, while a saw working in a groove, and so
mounted as to always cut at a true right angle, performs the
cutting operation. When in use the teeth of the saw require
repeated oiling with a brush, and the invention is said to give
great satisfaction with the expenditure of little effort. The
cut is claimed to be sharp and clean, and in the case of brass
rules not to need further finishing.

MACHINE AND PRESS WORK.

PROCKSS Blocks. — The question is frequently asked,
" How many impressions can be printed from half-tone
blocks ? " We think it will interest many of our readers to
learn that 135,000 good copies have been printed from the
Meisenbach blocks supplied for the Christmas number of the
" Lady's Pictorial," still leaving the blocks in a perfectly
satisfactory condition.

A Useful W^rinkle. — A printer complained that he could
not make a colour job register on a Universal press. One or
two questions elicited the information that the gripper move-
ment had become so badly worn that the grippers " crawled "
after striking the platen and threw the sheet out of register.
Many printers have encountered the same difficulty, and will
be interested to know what remedy was prescribed, which was
simply this : Take two pieces of strong cardboard, each
about two inches long, bend them near the centre, and with
mucilage or paste secure each to the tympan sheet, so that
the tongue, or the free end of the card, overhangs the sheet at
a point beneath the gripper. These tongues, striking the
sheet first, and being fixed to the tympan, will prevent any
movement of the paper by the grippers, and insure accurate
register. This is a simple expedient, and costs nothing, but
stow it away in one of the cells of your memory — it may be
useful some day.

Cylinder Packing. — Never use rubber or other soft
packing, except for old type. Hard packing for new type
should be the rule, and do not pack deeper than will be level
with the bearings of the cylinder. Use a couple of sheets of
book paper for the outside.

56 THE PRINTERS' HANDBOOK.

Gluing Machine Belting. — As a rule, belting for
machines is still sewn together in most printing offices.
Abroad, the gluing of the belts has been found to answer
very well. The double belts are split up a few inches, say
about three, at both ends, the upper part of the one, and the
under part of the other cut away, and both overlying parts
glued together, which can be done easily in a few minutes.
When the belt is drawn through the machine, the two ends
of the belt are seized, the belt is brought to the required
degree of tension and then glued. Single thin belts for
steam-presses can thus be glued instead of sewn.

Rapidity in Making- Ready. — An American journal
says: — What is the secret of speed in making-ready? Press-
men who have not become skilful at it wonder why others get
their formes " up " quicker than they ; and being unblessed
with observant eyes or reflective minds, they jog along in their
old ruts, while their fellows pass them in the race. There
are three kinds of slow pressmen: (i) those born with
thick wits, (2) those with lazy muscles, (3) those with active
hands and brains, but who have had no chance to see how
things are done by the rapid workers of the craft. For
the benefit of the third class, we will point out the secret of
success in obtaining a rapid make-ready. This secret lies
in the study of the chief inequalities of each forme, and in
rectifying those by underlays before a moment's thought is
given to the overlays or cut-outs on the tympan sheet. This
is so simple that the inquiring reader may pooh-pooh it as a
paltry key to unlock so big a door ; but we assure him that it is
the one key which, if he will use, will let him out of the dark
hole he is in. How often have we seen a pressman fussing and
fuming with an overlay — pasting here and cutting there hour
after hour — sweatingly conscious that the foreman or employer
judged he was consuming too much time ! Had he first levelled
up his forme from beneath, he would have been surprised to
find how little was left to be done on top. He would have dis-
covered that he had brought up everything where it could be
touched and thoroughly inked by the rollers. The neglect of
this precaution is the cause of nine-tenths of the trouble from

MACHINE AND PRESS WORK. 57

stoppages for patch-work, in addition to the original waste of
time from a false system of making-ready. The overlay is
for finishing, precisely as the cut-out is. Both should be
employed only for delicate differences of impression, never for
serious ones. To the second class in our category — the lazy
ones, we would say : Guard against the indolence that would
prevent you lifting the forme, for the fault will not only cause
you a waste of time, but will infect everything you do. It is
the active, willing workman who gets along. Never shirk !
It doesn't pay.

Working of Blue and Green. — If you want to get the
best results with blue ink, especially ultramarine, as well as
the more brilliant greens, don't use hard rollers, nor glycerine
rollers. Use good fresh glue-and-molasses rollers, and do
not carry too much colour. It is common to notice a mottled
or speckled appearance in solid blue surfaces. In other cases
a stringy appearance is seen. This indicates either too much
moisture or too much oil in the rollers — a simple matter, but
one to be watched with care.

Dividing the Ductor for Colour Work. — To make a
good, cheap and serviceable fountain division for working two
colours at once : Take a piece of hard soap and cut as near
the shape and size of fountain as possible, push down to the
fountain roller and friction will soon fashion the soap to hug
the roller so nicely that all danger of the mixing of colours
will be overcome.

For Bronzing on Plated Papers. — Pressmen fre-
quently find that they cannot print plated papers in bronze
with success. The heavy coating on the paper absorbs the
size so that the bronze will not " stick." This can be obviated
by running the sheets twice through the press, using size
both times, and allowing it to dry after the first impression,
which it will do very quickly. The first printing fills up the
pores in the paper, leaving an excellent ground for the second
impression, to which the bronze will adhere firmly. Of course
this is expensive ; but it must be figured in estimating the
cost of the work.

58 THE PRINTERS' HANDBOOK.

Hints for Buyers of Machinery. — Messrs. R. Hoe
and Co. give the following practical advice to intending pur-
chasers of machinery : " In buying a machine, see that,
whether new or second-hand, it is strong and well-made.
Consider the standing of the maker, both as mechanician and
machinist. A light-framed or shakily fitted machine will be
dear at any price. Do not be deceived by any beauty of
paint or finish on exposed work, which adds nothing to the
usefulness of the machine, and which may draw the eye from
an examination of the working parts. Uncover the boxes,
and see whether the finish of shafts in their bearings, or jour-
nals, is as smooth and true as the white and brass work of
more exposed pieces. Take out, here and there, screws and
bolts : see if the threads are deep, sharp, and well-fitted.
Look closely at the fitting of all toothed or pinion wheels ; note
whether they have been cast and filed to fit, or whether they
have been accurately cut by automatic machinery, so that
they will fit in any position. Slowly turn pinion wheels, and
note whether there is any rattling or lost motion, or whether
the teeth fit snugly, yet freely, so as to give even, steady
motion. . Closely examine all castings for pinholes or air-
bubbles, which may be most easily detected in work that has
been planed. See that castings are heavy as well as solid.
Look after oil holes and provisions for oiling. See that the
castings are neatly fitted ; that they do not show the marks of
the hammer or file, which must be used to connect them if
they have been forced or badly put together. Pay attention
to the noise made by the machine when in motion : if fairly
fitted, the noise will be uniform ; if badly fitted, it will be
variable or grating."

Printing on Tin-foiL — Put gum arabic in vinegar and
let it stand until it becomes a heavy paste, then mix in with
ink as varnish.

Bronzing after a Colour has been Printed. — Cal-
cined magnesia rubbed on a job will allow of bronze being
printed over colour without adhering to it, but the colour
should be as dry as possible before applying the magnesia.

MACHINE AND PRESS WORK. 59

Difficult Distribution of Ink. — Proprietors of printing-
offices would do well to inquire how the pressmen heat their
slabs on a cold or damp morning. The common way is to
roll a piece of paper — a clean sheet as a rule — light it, and
then burn merrily under the slab. A more inflammable place
than the press-room could not be imagined, for everything is
of a combustible nature. It pays to have a few detachable
gas tubes laid on, for it is nothing but gross carelessness to
let such a practice continue.

Where shall Red Ink be Used ? — In ornate typo-
graphy red is growing in favour, and the tendency is to work
in heavy masses of it. To produce a striking effect more red
is required than black. A recent number of the " Art Age,"
in an elaborate review of the use of red ink, says, among
other pertinent things, that the mistake most frequently made
is in introducing red inappropriately in masses where it is
neither ornamental nor part of the general composition. To
put it plainer, there is an increasing disposition on the part
of printers who have a laudable desire to be progressive to
use great masses of red merely for the sake of obtaining a
glaring effect. In a circular of a recent sale of paintings this
tendency was strikingly shown. A pretty red initial would
have set off every page handsomely, but to the one ornate
crimson letter was added an ugly, blotchy, fiery red head and
tail-piece that, instead of rendering the red attractive, made
it positively repulsive to the eye. No compositor of any taste
or judgment would have overloaded a page with an orna-
mental initial and a head and tail-piece, nor would the man
who designed the circular in question have ventured upon
such an overweighted design but for the simple sake of intro-
ducing plenty of red. A single line of red in a page of
Gothic produces a highly attractive effect. One heavy letter
or line of red in a page is pleasing to the eye ; any fur-
ther addition of red in mass becomes a positive blemish which
repels.

To Protect Belting. — The anointing of leather belting
with castor oil will prevent its being gnawed by rats.

6o THE PRINTERS' HANDBOOK.

The Damage to Rollers by Brass Rule. — In work-
ing brass rule formes, to prevent as much as possible the
rollers from being cut, place broad wood rules inside the
chases, so as to act as bearers for the rollers the whole length
of the forme. The ends should be rounded or tapered, in order
to prevent damage to the rollers when rising on to them.
They should be longer than the formes, and must be placed
exactly parallel with each other. For open or light matter
this will be found an excellent plan, as the inking will be
more even than when rollers are left to bump over the
matter. Strips of paper must be fastened to the cylinder or
platen for these rules to work on, and should be changed as
required. Wood rules should be kept specially for this class
of work.

Black Ink on Coloured Paper. — When using black
ink on a tinted ground, or on coloured paper, it is necessary
to observe, that the black changes colour in many instances,
or loses its intensity. Printed on a blue ground, its strength
and power are lost ; on red, it appears dark green ; on orange,
it takes a slightly blue hue; on yellow, it turns to violet; on
violet, it has a green-yellow shade ; and on green, it appears as
a reddish grey. Printers should take heed of these peculiari-
ties of black, or they may find their work worthless when done.

Working Cardboard. — Someone writes : — In working
cardboard on a small drum cylinder, I am troubled by a slur
on the last line, caused by the stiffness of the board, which
prevents it from conforming readily to the curve of the cylin-
der, so that, as the impression ceases, the sheet flies out flat,
making the job look dirty on the edge. I have obviated this
by passing cords around the cylinder, fastening one end to the
rod which holds the paper bands, and the other to be braced
against, which the fly strikes, the sheet moving under the
cords while being printed ; but is there no better way ?
Answer. — Take one or more pins, according to the size of the
job, cut them off', so as to make them type high, or a fraction
over, which place in the furniture, so as to catch the end of
the cardboard, and the slurring referred to will be prevented.

MACHINE AND PRESS WORK. 61

How Blotters are Printed. — Printing on blotting
paper presents several difficulties. The trouble which litho-
graphers find in the printing lies in the fact that the absorbent
paper does not lift the ink, the impressions appearing grey,
broken, and at the same time filled up. The steam-press
upon which the printing is done gets full of paper-dust to
such an extent that the ink upon the rollers becomes pitch-
like and the press itself is injured materially, as the fine dust
enters all oil-holes and the machine becoming dry is subjected
to unusual wear. Taking this into account a few hints
respecting such work may come handy. It is well known
that the upper surface of blotting paper differs materially from
the lower, the one being quite smooth and the other far more
open and woolly. Again it should be taken into consideration
that the paper, when stacked, presents these surfaces in
changing order. Therefore, someone should be charged with
arranging the paper with the smooth side up, which is best
for printing. It may also be said that upon paper of the kind
in question a solid and sharp impression can only be made
when a hard, smooth and even cardboard is placed on top
of the rubber blanket on the cylinder, and furthermore, the
work upon the stone should be etched to a considerable relief
As most of the dust comes from the trimmed edges the paper
should be dusted at the edges with a hard brush before being
placed on the steam-press for printing: but after all, it will
become necessary to scrape the ink rollers several times during
the day and to place upon them fresh ink.

Mistakes in Colour Printing. — It is well known that
in all colour work, especially theatrical, show-card, and label
work, where but four or five printings are required, the colours
are mostly printed in the following order : Yellow, red, black,
blue, and if a fifth colour is buff, this comes last. This order
is invariably followed, e.xcept when it is desired to have in the
four or five printings a brilliant green or a good purple. It
is impossible to produce a warm brilliant green if yellow is
printed before the blue, and it is the same with purple. A
blue over red never makes as fine a purple as if the blue were
printed first and the red over it. A chrome yellow printed

62 THE PRINTERS' HANDBOOK.

first and a milori blue upon it produces a cold dark green
against a warm brilliant green obtained by reversing the order.
Milori blue over vermilion gives a dark dirty brown, over
crimson it forms a cold, dark-bluish purple ; dark blues, such
as Prussian, bronze, and indigo, over vermilion produce an in-
tense black, against which a true black appears decidedly
grey. Prussian blue and bronze blue printed over crimson
lake appear as a very dark, almost black-bluish purple, while
the lake printed over blue gives a true purple. The best and
brightest purple obtainable by printing red over blue is
secured by cobalt blue and carmine lake. The brightest
green is produced by milori blue first and light chrome yellow
over it.

Safeguard against Warping of Cuts. — It is recom-
mended, in printing from original woodcuts, to place a sheet
of gutta-percha under the forme. This prevents warping.

How to Improve Bronze-printing. — Bronze work
is very seldom what may be termed as thoroughly satisfactory
work. Its failure, as a rule, rests in the inability to fix it
firmly on the paper. Of course rolling is the most reliable
remedy, but as you may not happen to have a rolling machine,
nor the inclination to invest in one, adopt the following
method : — Work the forme with gold size and apply the
bronze in the usual way ; when the number required is com-
pleted, simply take all the rollers off the machine, clean the
forme, but don't disturb it, and run the sheets through the
machine again off the clean forme. The appearance of the
work is greatly improved by this process.

Cleansing Formes and Rollers. — A new invention,
calculated to be of considerable service in printing, is the use
of oil of camphor for cleaning rollers, type engravings, and
lithographic stones. It is preferable to oil of turpentine, being
without its unpleasant smell, and containing no greasy sub-
stance ; nor does it leave any deposit on the article cleaned.
Joined to these advantages, its moderate price will render it a
favourite.

MACHINE AND PRESS WORK. 63

Printing Solid Black on Gold. — Care must be taken
to obtain a plate of good quality for the gold. One made of
metal, and perfectly free from small holes would suffice, but
a polished zinc plate, cut to the required size, only costs a
small sum, and is the best. Boxwood blocks and other kinds
of tint-plates are not so suitable for long numbers, frequent
cleaning causing the surfaces to wear rough. The bronzing
preparation must be one that dries well when covered with
gold, but does not dry so quick as not to allow sufficient time
for the bronze to be carefully laid on. A bronzing prepara-
tion is recommended to all who have bronze work to do. A
large pad of cotton-wool must be used for laying on the
bronze, and as the sheets are finished they must be laid
perfectly straight until dry. Surplus bronze may then be
dusted off with an silk old handkerchief without any fear of
scratching the gold surface. Blue-black is the only ink that
prints solid black on gold at one impression. Printers will,
however, experience some difficulty in getting their work to
look sufficiently black and solid without overloading the forme
with ink. The whole process is slow and tedious, and one that
refuses to be hurried, but the finished effect is so fine that it
repays the trouble. The forme, if a fairly solid one, showing
large masses of black (similar to that shown in " The British
Printer''), should be double-rolled, and the machine run very
slowly — so slow indeed as to give the machineman time to
peel the sheet from off the forme for every impression. This
may be done easily by moving the grippers clear of the sheet
and allowing the latter to adhere to the forme ; a quick grip
of the sheet with both hands just before the rollers descend
will suffice to peel the sheet from off the forme, and most
effectually prevent the "lifting " or " tearing-up" of the gold
surface, which must inevitably result where grippers are used
to pull the sheet away quickly from the forme.

Printing Envelopes. — To prevent the lumpy particles
of mucilage on gummed envelopes from "battering" the
type, use a heavy piece of blotting paper as a tympan, and
when beaten down touch the injured part with a drop of
water, which will bring up the impression again.

64 THE PRINTERS' HANDBOOK.

Set-off Sheets. — A sheet of paper wet with glycerine
and used as a tympan-sheet will prevent offsetting. This
will be found better than using oiled sheets.

The Use of Tints. — In no department of the typographic
art has there been more marked progress during the past five
years than in that of colour printing. The origin of letter-
press printing in two or more colours seems somewhat obscure.
Ancient specimens of press-work are to be found in which
ornamented coloured initials, etc., are worked with the text ;
but many of these appear to have been the handiwork of the
scribe rather than of the printer. Much of the colour printing
of the past consists of attempts at showy effects, in bright or
positive colours ; but in later years, especially during the past
decade, the printer has striven for artistic honours bv aiming
at harmony of colouring, as well as brilliant effects, so that in
this direction great advancement has been made. The
principles of artistic colouring are governed by laws, and their
observance in the production of artistic effects is necessary on
the part of the printer as well as the painter. The latter,
however, has the advantage of the printer, because he can
apply his colours with the brush in any required degree of
intensity, changing and substituting until the eye is satisfied
with the effect ; while the printer must, to a great extent,
carry his plan in his mind's eye, and judge beforehand of the
effects of his colours and the harmony of the whole, even
before one of them is applied to his work. The necessity for
a fair understanding of the laws of colour by the printer will,
therefore, be apparent, and he who would be successful in this
branch of the art should comprehend at least the simplest
principles of harmony and contrast in colour. The employ-
ment of tints in the production of fine effects in colour work
is becoming a necessary part of the printer's art. By the
word tint we mean considerable surfaces of colour, applied,
not to the text or lettering, but as an adjunct to or ground-
work for the whole or some portion of the lettering. These
are employed either to heighten the effects of single lines or
groups of lines, or to serve for a background for portions of
the work. In either case great care is required to avoid dis-

MACHINE AND PRESS WORK. 65

harmony of colours ; the safest tints, on this account, are those
in which the primary colours do not appear, such, for instance,
as drab, buff, etc. Indeed, it is safe to say that for a ground-
work of much surface, a primary colour can very seldom be
used with good effect. When the type-work is in several
brilliant colours, the tints should always be subdued and
" quieting " in their effects. Where a single tint is used as a
groundwork for the text, its colour should be made to depend
on that of the ink used for the text. If much black, blue, or
other dark ink be used, the tint may be " warm," such as buff,
orange, pink, or purple. If warm colours are used in the text,
a " cool " tint, such as drab, grey, or slate may be employed,
always seeking to preserve a balance and harmony in the
whole. To be effective, a tint, especially if it be light or pale,
should have a well-defined boundary, of a deeper colour than
itself. This is usually accomplished by working a tint to fill
a prescribed space, defined by rules or border, in which case
accuracy of register is an important requisite, as'the tint over-
running or falling short of the boundary presents an unsightly
appearance.

Hint for Centring Lay. — In job work, when an impres-
sion is taken on the tympan, and the pressman wishes a sheet
to be printed in the centre, he has only to place the right edge
of his paper at the right end of the printed line on the tympan,
and mark on the sheet at the left end of the same line, and
fold the remainder into one half, marking the tympan at the
left edge of the sheet to be printed.

Slurring on Platen Presses. — If your forme slurs, try
the following remedies, until you strike the right one : —

1. — Take it off from the press and see if it is springy. If
it is, and the fault is with the chase, put a strip of cardboard,
a pica wide, between top of furniture and chase, all around.
This will overcome the tendency to spring.

2. — Examine your tympan ; and here in most cases is the
source of the whole trouble. If it is baggy, draw it tight.
See if it is not loose at one point and tight at another. If you
have several sheets of heavy stock or cardboard under your

66 THE PRINTERS' HANDBOOK.

top sheet, the imprisoned air will cause a slur. This can be
overcome by using one thick cardboard in place of the several
sheets. If it is warped or uneven, reject it and use a flat
sheet. See that the cardboard is not too large. If it is, the
tightly drawn tympan will warp it.

3. — Examine the impression studs, and make sure that
none of them are loose. It often happens that one stud is
drawn back, and is loose, leaving the force of the impression
to fall on the three remaining ones. This would very likely
cause a spring of the platen, and consequently a slur.

4. — Notice how the grippers strike the platen. They must
come down perfectly flat, all points alike, and must not slide
upward after they have once touched the platen ; neither
must they loosen their pressure on the sheet until they leave
it entirely. A sliding gripper may move the sheet so as to
crowd it against the side gauge, so that the sheet would be
baggy when it reached the forme, and a slur would be inevit-
able.

5. — Try with one gripper alone, then with the other alone.

6. — If the forme will allow it, stretch a rubber band, or two
of them (one above and one below the forme), from gripper to
gripper. If a two or four page forme, use rubber bands or
tape between the pages, making a sort of frisket.

7. — Take a piece of flat manilla paper of good quality, of
the right size for a tympan sheet, dampen one side with a
sponge quickly, so that the sheet will be dampened through,
put it over all the tympan (after first removing sufficient paper
to adjust the difference), draw it tight both ways, and let it
dry. You will have a tympan as taut as a drumhead. Do
not be discouraged if it looks hopelessly wrinkled after first
putting it on. It will straighten out when the moisture is
gone. If you cannot wait for it to dry, heat a board and lay
it on the tympan for a few minutes.

To Overcome Electrical Attraction in Paper. —

Take a large type galley and lay it on the delivery table,
where the sheets will fall upon it. Run a copper wire from it
to the steam pipes, just behind it, and this will carry off all
electricity, so that sheets can be straightened easily.

MACHINE AND PRESS WORK. 6^

Lubricating Printing Machines. — All machinery
should be kept clean, and well oiled every morning ; but
newspaper and fast speed machines should be oiled twice a
day. It is very important that printers should have an oil
for their machinery which is quite free from any tendency to
glutinating or clogging qualities. Very often great incon-
venience and no slight damage is occasioned by using inferior
lubricants.

Save your Make- Ready. — How many pressmen do
this ■? Indeed, how many pressmen are there who pause to
consider how in numerous ways they can save trouble to
themselves and time to their employers by a little system and
forethought? The preserving of make-ready sheets of all
jobs likely to be done again, whether in type or plate form, is
one of these. There are few offices where regrets for neglect
of such a precaution have not been expressed. It is a safe
rule to keep the make-ready of every type job until the job
has been distributed, and even then the pressman should
carefully cut out and preserve the make-ready of all cuts or
other difficult or tedious work that may be included in such
job, before throwing away the rest. As to electro or stereo
plate forms, he should invariably keep and file them, for they
are useful. Even should the margins be changed, he can
easily cut the pages apart and adjust to the new margins by
pasting his old make-ready over the pages in their position on
his cylinder or platen.

To W^ork Headings at Press. — Having your paper
ruled to the desired pattern, set up your type so that it will
register in the compartments of the ruling prepared for it.
Then make ready the forme and lift a sheet in, as near register
as possible on to the tympan of the press — it is impossible to
work headings properly at a cylinder machine — then get
some very long darning needles, the longer the better, and
stick them firmly into the tympan so that they be flat to the
paper. These needles, if stuck as you do pins for laying the
sheets to, will guide the register, as they must be so placed
as to hide lines of the ruling, both at the off side and bottom
side of the tympan.

68 THE PRINTERS' HANDBOOK.

To Prepare an Overlay. — About the best method of
preparing a woodcut overlay is to take three careful proofs
on a kindly-surfaced paper, moderately thin ; next cut out
slantingly all the light portions of proof No. 1, and set it aside
to build upon ; next cut out proof of No. 2 a great deal more,
according to the character of light and shade and the judgment
of the operator, and paste what remains with as little as will
hold exactly in position over the first ; next, cut out such heavy
portions of proof No. 3 as may appear judicious, and paste
them also in exact position, and the "overlay" is almost com-
pleted, but may need a little dressing with a sharp eraser.
Bv this simple process the pressman builds up a finished over-
lay that so operates on the impression of the engraving as to
bring out the shades and manipulate the high-lights of the
picture with all the artistic effects originally contemplated by
the artist. He is also enabled to " cover " with the least
possible amount of ink, which is a leading feature of artistic
presswork. But the young pressman must have experience
in this particularly nice operation before he can expect to be-
come a proficient. We have described the process ; yet en-
gravings vary so much in their general character that no
dogmatic system will apply universally. The student must
possess a quick perception of what is demanded by each
particular cut, and modify his judgment accordingly. An
excellent plan is to keep before him the engraver's proof, and
be guided by it in the amount of building up that is expedient.

How to Print with Bronze. — To do good work with
bronze powders, it is necessary to select a set of tolerably well
seasoned rollers, made of glue and molasses composition ;
these should be slightly sponged with water a minute before
using. A well-ground size — not too thin nor too stiff — which
will work free, and cover with a close and even surface when
rolled, should be procured. This should be well distributed
before applying it to the forme, and no more carried than is
absolutely needed to cover evenly and hold the bronze. When
too much of the sizing is used, rough and bad work will result,
no matter how thoroughly the bronze powder may be rubbed
on. The ink-size and rollers being right, the manner of

MACHINE AND PRESS WORK. 69

applying and rubbing in the bronze is next in order. About
the very best article to apply the bronze powder to the printed
stock is soft and well-picked cotton, as this leaves no scratches
across the work. And here comes in the most important and
really artistic part of the operation, for of all stages of failure to
execute good bronze printing this is the one at which neglect
is most apt to show itself. Therefore, take a moderately
large piece of the cotton, carefully round off the ragged edges,
and dip it in the bronze (slightly shaking back the superfluous
powder that may adhere), then apply to the work, gently
going over all the printed portions until covered, and the
cotton pad slips along more easily ; then increase the pressure
and briskness of motion in rubbing over the work for a few
seconds, as if polishing, and the desired effect is readily pro-
duced. In a word, brilliant and even work is accomplished
by the method stated, and the efficacy of a little lively rubbing.
Bronze powder is usually put on with too great a pressure ;
this causes blue and unsightly marks on the paper or card.
Then, again, there are badly compounded bronzes, with
apparent good colour, which will produce a like result, no
matter how carefully they may be applied. Such a quality
should be cast aside, as it will become tarnished in a short time.

The Selection of Colours. — The following table will
be found useful in choosing the various tints, inasmuch as by
examining them in the order here given, the eye will at once
detect the slightest differences of shade. To refresh the eye
Look at Greens before choosing Reds,

„ Blues „ Oranges.

„ Violets „ Yellows.

„ Reds „ Greens.

„ Oranges „ Blues.

„ Yellovvs „ Violets.

„ Tints „ Browns.

„ Browns „ Tints.

To make Bronze stick. — Those who have trouble in
making bronze stick when dry should try a little mucilage or
liquid glue in the size. Mix only a little at a time, and wash up
frequently or the rollers and disc will become too stiff to work.

70 THE PRINTERS' HANDBOOK.

Some Hints on Presswork. — Do not try to correct
the faults ot hurried making-ready by a weak impression, and
by carrying an excess of ink to hide the weakness. Excess
of ink fouls the rollers, clogs the type, and makes the printed
work smear or set off. A good print cannot be had when the
impression is so weak that the paper barely touches the ink.
on the types and is not pressed against the types. There
must be force enough to transfer the ink not only on to the
paper, but into the paper. A firm impression should be had,
even if the paper be indented. The amount of impression
required will largely depend on the making-ready. With
careful making-ready, impression may be light ; roughly and
hurriedly done, it must be hard. Indentation is evidence of
wear of type. The spring and resulting friction of an elastic
impression surface is most felt where there is least resistance
— at the upper and lower ends of lines of type, where they
begin to round off. It follows that the saving of time that may
be gained by hurried and rough making-ready must be offset
by an increased wear of type That impression is best for
preventing wear of type which is confined to its surface and
never laps over its edges. But this perfect surface impression
is possible only on a large forme with new type, sound, hard
packing, and ample time for making-ready. If types are
worn, the indentation of the paper by impression cannot be
entirely prevented. Good presswork does not depend entirely
upon the press or machine, neither on the workman, nor on
the materials. Nor will superiority in any one point com-
pensate for deficiency in another : new type will suffer from a
poor roller, and careful making-ready is thrown away if poor
ink be used. It is necessary that ail the materials shall be
good, that they should be adapted to each other and fitly used.
A good workman can do much with poor materials, but a
neglect to comply with one condition often produces as bad a
result as the neglect of all.

Printing Red on Black Paper. — Try printing once
with varnish and twice with red if an intense colour is desired.
We have not tried it, but the Berlin Typographical Society
says it will accomplish its purpose.

MACHINE AND PRESS WORK. 71

Printing in Bronze. — The whole secret of brilliant
bronze work is to have the sheets rolled after printing.

Bronze Printing. — In colour printing the gold is
worked first, because otherwise the bronze would adhere to
the colours and the job would be spoilt — matter in a wrong
place you know. If you must work your colours first — and
there are cases where it is advisable to do so — the job should
be dusted with chalk before the gold is added.

Setting Gauges on a Platen. — Much time is often lost
in guesswork. Ascertain the correct margin at the head of
job, and mark the correct distance on the platen. Get a
straight edge, square it from some line in the forme to the
margin mark, and draw a pencil line across platen sheet.
Apply your gauges and you cannot help getting them straight
first time.

Printing on Glazed Surfaces. — It is well known that
printing ink when used on glazed and enamelled paper dries
rapidly and pulverizes easily, so that the work is more or less
rubbed off. This is due to the fact that the paper absorbs up
to a certain point those elements or substances which enter
into the composition of the ink and whose function is to bind
together the solid elements. In consequence of this absorp-
tion the colour or lampblack rests like dust on the enamel and
rubs off naturally with great facility. To obviate this incon-
venience recourse is had to two different methods : either to
modify the paper used or to add some ingredient to the ink
which will cause it to adhere better. The latter is the prefer-
able course, for it is the simplest. For printing on glazed or
enamelled paper add a varnish rich in resin, such as is used
for bronze-work. This causes the colour of the ink to be
somewhat deteriorated, but if care is taken there is not much
to fear.

Good Ink for Cuts. — It does not pay to try to print cuts
or fine letterpress on good paper with a poor quality ink.
Use the thick-bodied, short ink for such work, especially on
a platen press.

72 THE PRINTERS' HANDBOOK.

The Printing and Cuttingof Labels. — Supposingyou
wish to trim a circular label quite close to the inclosing rule :
Get some steel cutting rule, and with the help of a curving
machine first bend a lead so as to fit the rule closely ; then
bend your cutting-rule to fit around the lead, leaving a very
small space (say one-sixteenth of an inch) between the ends;
when fixed put your forme on the press ; use a hard tympan
(Bristol board is good), and after making ready put an overlay
of cardboard over your cutting-rule. You will find that the
next impression will print your label and at the same time
cut it smoothly and neatly from the sheet, except where the
space comes between the ends of the rule. This small uncut
space serves to pull the sheet from the type, and if the sheets
are fed accurately they may be knocked up straight and
square and the paper cutter used to separate the narrow
uncut space, or a thin chisel may be pushed through the pile.
If these directions are followed labels of any shape can be
printed with narrow or wide margins, of uniform width all
round, and without waste of time. On odd shapes, where the
cutting-rule has to be fitted in sections, it is best to use the
soldering iron to keep them in place. The same device may
be used to cut cards to odd shapes by fitting the rule to the
shape desired, and running cards through the press without
rollers.

Cleaning Machinery. — Takehalf an ounce of camphor,
dissolve in one pound of melted lard; take off the scum and
mix in as much fine blacklead as will give it an iron colour.
Clean the machinery and smear with this mixture. After
twenty-four hours rub clean with a soft linen cloth. It will
keep clean for months under ordinary circumstances.

Barking the Knuckles. — In washing small job formes
with benzine after taking proofs, printers find it provokingly
easy to scrape the skin off the knuckles while driving the small
brush generally used across the forme. One who has tried
says that the cause of knuckle barking is the smallness of the
brush, and that after taking into use an ordinary boot-blacking
brush he saved his skin.

MACHINE AND PRESS WORK. 73

Blending of Colours. — The laws of harmonious colour-
ing are a necessary part of the knowledge of printers in
colours. A few contrasts are : —

Black and warm brown. Violet and pale green.

Violet and light rose colour. Deep blue and golden brown.

Chocolate and bright blue. Deep red and grey.

Maroon and warm green. Deep blue and pink.

Chocolate and pea green. Maroon and deep blue.

Claret and buff Black and warm green.

Method of Printing in Colours. — A new method of
colour-printing consists in taking any desired suitable pig-
ments, preferably aniline, and dissolving them in any suitable
solvent — such as water, alcohol, glycerine, oil, or any desirable
mixture of either — and so prepared that the colours will not
too readily set. Sheets or rolls of tissue-paper, silk, or other
suitable fabric are then taken and saturated with the prepared
pigment, different parts of any given sheet being saturated
with different colours, and the pigment being applied in strips,
spots, or according to any desired design. The paper will
then usually need to be dried, or partially dried, to enable it
to be handled and prevent smearing, and insure a clean, sharp
impression. The pigment may be applied by means of ordinary
printing rollers, such as are used in calico-printing ; or the
paper may be impregnated by means of pens, pencils, or
brushes, such as are used in preparing ruled paper ; or, instead
of a single sheet saturated with more than one colour,
tissue-paper or fabric may be first impregnated with one
colour, using it as a base, and then strips or designs of other
paper or silk, each saturated with a different coloured pigment,
may be laid over or secured to it, the whole being then dried
as far as necessary, or the many-coloured sheets may be
made of pieces connected at their edges, either before or
after saturation with pigment, and then dried. One of
the coloured sheets, prepared in either of the ways indicated
and with any desired design, is placed in contact with the
paper to be printed and between the print-paper and the
type, electrotype or woodcut, and the whole is then passed
under the cylinder or platen of the press, as in ordinary

74 THE PRINTERS' HANDBOOK.

printing, and the impression in two or more colours in any
desired design is thus made without the use of the ordinary
inking process ; or the face of the type is first rolled with ink,
so as to make a base colour, and then there is laid over it, on
the face of the type, coloured strips, and thus any desired
number of colours may be printed at one impression.

About Inks. — The management of inks seems little under-
stood by many printers. Printing ink is substantially a paint
triturated to extreme fineness. There are occasions, of
course, when the least amount of colour that can thus be put
on is sufficient, but it generally needs more. Especially in
handbills and posters more is required. The first requisite
in this case is that they shall catch the eye quickly, which
cannot be done by hair-line faces or small quantities of ink.
They should be charged with colour. Principal lines should
have more impression than w eaker ones, and this is generally
better accomplished by underlays than overlays, for not only
is the impression stronger, but the line will thus take more
ink. The more slowly the impression is made the blacker
the line will appear, as the ink has then time to pene-
trate. It is well sometimes, when extra solidity of colour is
required, to run a good piece of work through a second time.
House painters do not finish a house at once, but lay on one
coat after another until the requisite intensity of colour is
obtained. Especially should this precaution be followed in
pale or weak colours, such as the various yellows. One
great reason why this hue is hardly ever used by printers,
except through bronzing, is that it always looks pale and
ineffective on paper, and is lost in artificial light. The
colour, in its various modifications with red and black, is very
effective, as can be seen by looking at the leaves of trees
in autumn, which are compounds of green, brown, red
and yellow, the first soon disappearing, and brown being
the last.

Printing of Coloured Inks. — The freshness is taken
out of bright coloured inks by their being distributed on the
iron surface. Slate or marble is preferable.

MACHINE AND PRESS WORK. 'JS

Hints on Using Inks. — All ink, when opened, should
be lifted — especially in thick and dryer inks — from the top,
keeping the surface as smooth as possible, otherwise the side
portions will " skin," and be apt to mix with the rest of the
ink, spoiling the whole. All cans should be kept carefully
covered to prevent " skinning," and all scrapings from table
and boxes be kept separate for poster or coarse work. If
water gets mixed with ink, it will make it roll out badly and
work specky. Any skin formed should always be carefully
removed, to prevent its mixing with the undried ink.

Hard Packing and Fine Printing. — Book-printers
gave up damp paper reluctantly. For the new method of
printing dry compelled them to give up the woollen blanket
which had been used between the paper and the pressing
surface as the equalizer of impression ever since the invention
of printing. That such an elastic medium was needed when
types where old or of unequal height, or when the pressed and
pressing surface of the press could not be kept in true parallel,
needs no explanation ; but the use of an elastic printing-sur-
face was continued long after these faults had been corrected.
The soft blanket, or the India-rubber cloth, often used in place
of it, made an uncertain impression, which either thickened
the fine lines of a cut, or made them ragged and spotty. It
would have been useless to get smooth paper if the pressing-
surface behind the paper could be made uneven. To get a
pure impression it was necessary to resort not only to the
engravers' method of proving on dry paper, but to his method
of proving with a hard, inelastic pressing-surface. A substance
was needed which could be pressed with great force, without
making indentation, on the surface of the cut, and on the sur-
face only. This substance was found in mill-glazed " press-
board," a thin, tough card, harder than wood, and smooth as
glass, which enabled the pressman to produce prints with the
pure, clean lines of the engraver's proof. Old-fashioned
pressmen prophesied that the hard printing-surface would
soon crush type and cuts ; but experience has proved that,
when skilfully done, this hard impression wears types and
cuts less than the elastic blanket.

76 THE PRINTERS' HANDBOOK.

Hints for Selecting Paper to Suit Ink. — Printing
ink appears, when on white paper, blacker and colder than
on tinted paper ; while on yellow or tinted paper it appears
pale and without density. For taking printing ink most per-
fectly, a paper should be chosen that is free from wood in its
composition, and, at the same time, one that is not too
strongly glazed. Wood paper is said to injure the ink through
the nature of its composition. Its materials are very ab-
sorbent of light and air, and its ingredients go badly with
colour. Pale glazed or enamelled paper, on the other hand,
brings out colour brilliantly.

Hints for Quickly Drying Printed \Vork. — It may
not be generally known that ink will dry very quickly on paper
damped with glycerine water. Posters with large and full-
faced types will dry in a quarter of an hour, whilst the drying
process, when the printing has been done on paper simply
wetted in the ordinary way, will require hours.

Printing Red Ink and Electrotypes. — The follow-
ing plan answers well for temporary purposes: — Take one
ounce of prepared gold size, and a quarter of an ounce of the
"lake-brilliant" of Cornelissen, and grind well together with a
muller ; roll the electro with this preparation and let it stand
for twelve hours, when it will be found as hard as stone, and
the vermilion may be printed from the plate without the
least injury to its brilliancy.

New Colour Printing Machine. — A German firm
has patented an improvement in platen machines with oscil-
lating table, by which it is possible to print in two colours
without changing the inking apparatus. The present platen
or the forme receives a second platen or a frame which may
be revolved or displaced in the centre in an axis of the table.
A suitable arrangement turns this second plate before closing
the platen, or before it is pressed against the forme, by 90
degrees, and the same happens on the retirement of the platen.
The inking apparatus is divided into two parts. If only one
colour is to be printed, the two parts are pushed together,
and thus form a single inking apparatus. The same is the
case with the inkin<; rollers.

MACHINE AND PRESS WORK. 77

A Set-off Paper. — Pressmen should remember that
paper saturated with benzine is as good, or better, and much
cleaner than oiled paper, to avoid a "• set off," when work has
to be printed on both sides.

To Print Process Blocks. — Many printers object to
use process blocks, as they become clogged with ink and
require frequently to be cleaned. This is one of their defects,
and must be submitted to whenever there is anything more
than an outline drawing. Much of the difficulty in printing
can be obviated by using nothing but hard paper in the over-
lays, care in rolling, and a firm paper to be printed on. The
fibres will not then sink into the plate and the ink spread over
the portion in relief. Extra care will obviate nearly all trouble
from this source.

The Creasing of Sheets on Cylinder Machines.
— A correspondent wrote on this subject to one of the London
trade journals and was answered thus : —

This query has been dealt with in these columns before.
Precisely the same troubles visit printers, no matter where
they may be, and if our correspondent had referred back, he
might have discovered the information he now seeks given to
another printer whose troubles in the same direction were
prior to his own. The paper creases. Of course it does.
What sort of paper is it ? Is it worked dry or wet ? Was it
too wet? Is it worked with a blanket on the cylinder, or
paper, or that oiled canvas, table-cover sort of material ? If
we had to work a similar sheet we should get the machine
quite clean and sufficiently well down on its bearings before
beginning to make ready. Then we should put some sheets
of paper on the cylinder, just enough to bring it at its printing
surface to a level with the extra thickness of iron which is on
the ends of the cylinders. These sheets we should paste at
both edges, and put them in their place damp. When they
had dried they should be as smooth as glass and as tight as a
drum. The forme should be laid on and put, if possible, into
its place at once, for if there are several impressions of it the

78 THE PRINTERS' HANDBOOK.

sheets get indented and spoiled. The impression should be
very light to start with, and the job should be worked as light
as possible. Very little patching should be done, and a sheet
might be placed over all before starting, if by so doing the
pressure will not become too great. A glazed board from the
warehouse might be put on the cylinder if necessary, so as to
prevent the sheet puffing, or the canvas we have referred to
might be used instead of a blanket. If none of these things
produce the sought-for result, a " bolster bearer" — that is, a
rolled-up piece of paper — may be stuck on the cylinder below
the margin of the page. If this fails no amount of description
will help our correspondent. Nothing short of positive assis-
tance personally and practically rendered can be of the slightest
use. We have endeavoured to show how not to get this
crease, but no fixed rule exists, and such matters have to be
met with care, and conquered with dodges, wrinkles, and the
like, which can hardly be conveyed at the right moment by
means of a printed discourse. As a proof that pressure is the
principal cause of creasing, let our correspondent try, when
he has worked off the next number of his journal, whether he
can make a crease by adding more pressure, or by loosening
the back edges of the cylinder sheets. He will get his crease
immediately by so doing, and the inference is that by remov-
ing the cause the effect should also cease.

Hints on Colour. — The following hints to letterpress
colour printers will be found invaluable: — Yellow and carmine
or deep red produces scarlet or vermilion ; carmine and blue
produces deep lilac, violet, and purple ; carmine, yellow, and
black produces a rich brown ; yellow and black, a bronze
green ; yellow, blue, and black, deep green ; carmine and
white, pink of any shade ; ultramarine, white, and carmine,
deep tones of lilac ; violet and white, pale lilac or lavender ;
cobalt and white, lively pale blue ; and Chinese blue, deep
bronze blue, chrome, pale lemon, any tone of emerald green.
Amber is made from pale yellow, chrome, and carmine.
Red brown is made from burnt umber and scarlet lake.
Light brown is made from burnt sienna shading with lake.
Blue and black are made from deep blue or deep black.

MACHINE AND PRESS WORK. 79

Salmon is made from burnt sienna and orange, shading with
white.

TWO COLOURS WHICH HARMONIZE WELL.

Scarlet red and deep green. Light blue and deep red.
Orange and violet. Yellow and blue. Black and light green.
Dark and light blue. Carmine and emerald.

THREE COLOURS.

Red, yellow, and blue. Orange, black, and light blue.
Light salmon, dark green, and scarlet. Brown, light orange,
and purple. Dark brown, orange yellow, and blue. Crimson
lake, greenish yellow, and black.

FOUR COLOURS.

Black, green, dark red, and sienna. Scarlet, dark green,
lavender, and black. Ultramarine or cobalt blue, vermilion,
bronze green, and lilac. Sienna, blue, red, and black.

Printing on Tin. — The impression is first made from
the stone on to a rubber roller, and from this roller is trans-
ferred off again upon the tinplate. There has lately been
invented a steam press working on this system. The rubber
has the quality of taking a much sharper impression than
any kind of paper, and by its elasticity prints smooth and solid
on a hard surface even if the latter is uneven.

New Ticket Printing Machine. — A New York printer
has invented a very ingenious combination of printing-press
and several other similar devices, whereby he is enabled to
print ballots and bunch them at the rate of three millions an
hour. The paper is run in full sheets, but it is cut into strips
immediately after leaving the cylinder, whence it goes through
the folder in as many slips as the full tickets require. Then
the strips are cut into pieces the size of a ballot, and finally
encased in a pasted envelope, in form like a flat cigarette.
The machine is comparatively simple in construction, and is
designed also to print telegraph blanks and do them up in
pads at the rate of 10,000 to 12,000 per hour.

8o THE PRINTERS' HANDBOOK.

A new Perfecting Machine has been patented in
Germany. In this machine two simple rotary motions
have been combined, so that only one motor moves the two
formes and the two printing cylinders. The sheet, after
being printed on one side, is turned by a turning drum
during the return of the carriage, and then printed on the
other side during its next forward movement. Both the
prime impression and the reprint are consequently effected
during one passage of the carriage on two sheets. It
follows from this arrangement that the two printing cylinders
are not continuously revolving, but are arrested during the
return of the carriage, as in ordinary machines, by an inter-
cepting fork. The sheets may consequently, during this
pause, be pressed against points. The machine delivers for
each turn a perfected sheet, with the exception of the first and
the last turns. In the former the reprint cylinder revolves with-
out printing ; in the latter the prime cylinder turns without
doing work.

To Test Leather Belting. — A simple method of de-
termining the value of leather belting consists in placing a
cutting of the material about 0.3 of an inch in thickness in
strong vinegar. If the leather has been thoroughly acted
upon by the tannin, and is hence of good quality, it will
remain, even for months, immersed without alteration, simply
becoming a little darker in colour. But, on the contrary, if
not well impregnated by the tannin, the fibres will quickly
swell, and, after a short period, the leather becomes trans-
formed into a gelatinous mass.

Cleanliness in the Press-Room. — A correspondent
writing to an American journal on the subject of cleanliness,
says, " Thinking the matter over I was planning how the press-
room could be kept clean, and the thought came, how often
when a person happens into a press-room he finds it dirty,
everything every way, and, worst of all, the presses covered
with oil, and under each a veritable oil well. Then the press-
man tells you that they have been very busy lately and have
not had a minute to clean up. I venture to state that this

MACHINE AND PRESS WORK. 8l

pressman (and there are a good many such as he) will give
a similar excuse if you drop in just after they have had a
short run or dull time. Now, a plan I suggest is, each time
you go to oil up a press, take a piece of waste or woollen rag,
and when the oil-hole is properly filled (bear in mind the hole
was not made to hold a pint), wipe off what little runs on the
outside, at the same time give a quick rub to parts close by,
then whatever has worked out during the previous run will
be cleaned up and you will find very little has gone on to the
floor, or, better still, if you can have it, zinc under each press.
If this is done by the pressman or feeder, every time you oil
up, much of the dirt, saying nothing of the soiled jobs, which
you see in many press-rooms, will be cleaned up and it can be
done with hardly any loss of time, what some call it, but I
think done with a saving of time."

Cleaning Rubber Blankets. — We learn that the use
of turpentine in removing grease and colour from rubber
blankets, is increasing to such an extent, that we desire to
make a few suggestions as to its use and effect. The quan-
tity used should be as small as possible, and great care taken
that it is thoroughly dried out before the blanket is used in
printing. Otherwise, as turpentine softens the rubber face,
the blanket will be injured by the pressure of the cylinder
causing wrinkles to appear upon the face. It is preferable to
clean the blanket after work at night, thereby giving ample
time for the turpentine to dry out, rather than in the day-time
when the press is in use. The use of ammonia, as a substitute
for turpentine, is strongly recommended, with less chance of
damage to the blanket.

Dirty Tapes on Machine. — A great drawback in rotary
machines is the liability of the tapes to get dirty. In the
first place, the use of ink containing a sufficient proportion of
varnish is recommended. The latter may be dearer, but it is
more economical. In the next place, thin tapes are sug-
gested ; if they are not drawn too tightly they last quite as
long as thick ones.

82 THE PRINTERS' HANDBOOK.

Preservative for Belting. — New belts should have
enough dressing in them to last several months, unless they
are getting very hard treatment. Castor oil is a good pre-
servative dressing.

Cotton Belting. — When first put on they require
" taking up " once or twice more than leather. The stretch
is approximately six per cent, as against four per cent, in
leather, but once well at work they give less trouble, as there
is but one joint to look after. If put on really tight enough,
this stretching is diminished to a great extent. Users are
afraid to overstrain the belt, but experiments made as to
tensile strain show the impossibility of breaking a belt under
fair conditions.

Erecting the Columbian Press. — Place the feet on
the staple and raise it upon them ; then place the bar-handle
in, with the bolt belonging to it ; put the principal lever into
its place, and then the bolt which connects it to the staple ;
then the angular or crooked part, which has one square and
three round holes, through it, into the mortice, which is in the
projecting part of the long side of the staple, and place in the
bolt that attaches it to the staple. In the extreme edges of
the heads of the two before-mentioned bolts you will observe
marks, and corresponding marks over the holes through
which they pass ; put the bolts in so that these marks meet
together and correspond, and so on, until you have all the
remaining parts in their respective places. The four screws
for the platen, which have heads on one side, are intended to
attach the platen to the piston, which being placed in their
proper places, are secured by the four small blocks of iron
which accompany them. To increase the power, turn the
nut in the rod so as to shorten it, and to decrease it, turn it
the reverse way. By the nut on the iron screw, which connects
the main and top counterpoise levers, you may regulate the
rise and fall of the platen, so as to clear the head-bands of
the tympans, which is done by screwing the iron nut up as far
as is necessary. In adjusting the platen so as to approach
the forme exactly parallel, you must, after hanging on the

MACHINE AND PRESS WORK. 83

platen and having a forme on the table, square it to your
tympans, then make a pull, and hold the bar-handle home
until someone else screws the four platen bolts to an equal
tightness. The small holes which communicate with the
different bolts require a small quantity of machine oil occasion-
ally. The impression may be increased by putting thin
pieces of tin or sheet iron, cut to the size of the plate of iron
which lies between the platen and the piston, secured by the
four screws on the top of the platen, and placing it under
the piston ; you can then readily tell whether everything is in
its proper place, by the perfect ease with which the bar-
handle acts. As will be gathered, the impression is obtained
by means of levers, somewhat on the plan of those used by
Earl Stanhope in his press. The power is given by the heavy
cross-beam at the head of the press, set in motion by pulling
the bar-handle across, which acts on the horizontal rod
attached, and also brings the elbow into play, great power
being thus obtained. The top cross-rod, on which the eagle
is placed, is the counter-weight, which falls back into its
original position — having been raised in the act of impression —
when the recoil of the bar-handle has taken place. These
presses are made as large as double royal.

Erecting the Albion Press. — Place the feet on the
staple and raise it on them ; then place the spring and box
on the top of the staple, dropping in the long loop bolt, which
is connected with it, into the long hole in the staple ; then
connect the piston by passing the round bolt through the
hole in the staple, and fasten with pin and washer ; put the
bar-handle in its place with bolt, tightening it so as to allow
the bar-handle to be free ; then attach on, with the four
screws, the slides or guide-pieces to piston ; then place the
chill into the piston, also the tumbler or wedge-shaped piece,
taking care that the bright or numbered side is towards the
bar-handle ; then connect the chill with the bolt in the
handle, screw up the nut or top of the spring-box suffi-
ciently to draw back the bar, so as to keep all parts in their
places. The wedge and brass guard in front of piston are
intended to regulate the pressure. The other parts of this

84 THE PRINTERS' HANDBOOK.

press may be fixed in the same manner as the Columbian.
These presses are also made in very large sizes. The power
is obtained by means of levers, which act on an inclined piece
of steel called a chill ; by pulling the bar-handle across, this
chill is brought from the sloping into a vertical position at the
precise moment of impression. On the bar-handle being
allowed to go back to its original position, the chill resumes
its former inclination, and the platen is raised from the
surface of the type by the recoil of a spring contained in the
box at the head of the press ; this then allows the forme to
be run out, rolled, and run in again for successive impressions,
the sheet as printed being first removed, and another laid on its
place.

Packing Rollers on a Machine. — This is sometimes
necessary to avoid the "wiping" of the roller on the extreme
edges of the type, which causes an excess of ink on the part
where the rollers pass over any opening between the pages
of the forme. In order to get over this difficulty, thick card,
or even pieces of leather, may be used as packing ; the length
should be a little more than the opening to which they are
placed opposite. Let the extreme edges be bevelled off so
that the rollers will run over without jumping. The exact
height will be determined by experience, but generally a sixth
or an eighth of an inch in thickness is sufficient.

Finding the Pitch on a Cylinder Machine. — The
best plan is to daub a little ink on one end of the cylinder
opposite the grippers, and turn the coffin under till this mark
is transferred to the impression bearer. A gauge should
then be cut for future use, and the formes of works of varying
margins may be adjusted to the exact position at once with-
out fear of accident.

On the Mixture of Colours. — It is a common defini-
tion of white, that it is the presence of all the colours, and of
black that it is the absence of all colour. It is true, theoreti-
cally, that the mixture or combination of the colours of the
prismatic spectrum, by means of a lens or concave mirror,
produces a ray of white light ; but when we mix pigments or
inks, representing those colours, taken as pure as we can

MACHINE AND PRESS WORK. 85

possibly obtain them, the mixture is not white, but grey or
black, according to their intensity, etc. :

For every blue ink contains also either red or yellow ;

Every red ink contains also either blue or yellow ;

Every yellow ink contains also either blue or red ;

And although, as we have said, the union of the blue, red, and
yellow of" the spectrum produces white, the union of blue, red,
and yellow inks produces grey or black according to proportion.

If we had inks that were in colour as pure as those of the
spectrum, their mixture would also yield pure colours.

Ultramarine is the only ink that approaches a prismatic
colour in its purity, but even that has a slight tinge of red in
its composition, causing it to appear violet.

We can take gamboge as the representative of pure yellow,
carmine as that of red, and Prussian blue as that of blue.

In mixing inks to obtain pure secondary colours, we shall
obtain a better result if we select such as are free from the
colour not essential to the compound. Thus, to obtain a pure
green, which consists of blue and yellow only, we must take a
blue tinged with yellow rather than with red, and a yellow
tinged with blue rather than with red ; if we took either of
those inks tinged with red, a quantity of black would be
formed by its mixture with the two other primaries, and the
green would be tarnished or broken. So long as pure blue
and yellow are mixed together, in varying proportions, but
without the addition of the other primary colour (red), the
resulting compound colour, green, remains a pure colour.
Such is the theory, and the practical result is the same if the
inks we select to form the mixture are both free from the
third primary.

When the three primary inks are mixed together in equal
strength and proportions, the resulting compound is black.
But if they are mixed in unequal strength and proportions,
the mixture is grey, coloured by the primary or the secondary
in excess in the compound.

Normal grey is formed by mixing a black with a white ink
in varying proportions, producing various tones of grey.

By adding a primary or a secondary to normal grey, we
produce a coloured grey.

86 THE PRINTERS' HANDBOOK.

There are as many classes of grey as there are primary and
secondary colours, and as many hues of grey as there are hues
of these pure colours. What are commonly called Tertiaries,
are, in fact, coloured greys : thus, russet, is red-grey, citrine
is yellow-grey, olive is blue-grey.

If the primaries are mixed in unequal proportions, or are
of different intensities, the mixture is a grey.

If the blue is in excess, the mixture is a blue-grey.

If the red is in excess, the mixture is a yellow-grey.

If the blue and the red are in excess, the mixture is a
violet-grey.

If the blue and the yellow are in excess, the mixture is a
green-grey.

If the yellow and the red are in excess, the mixture is an
orange-grey.

When two secondaries are mixed together, the grey that
results is coloured by the primary which enters into the com-
position of both secondaries, thus :

In mixing green with violet, the grey is coloured by blue,
that being the primary in excess.

Green consists of blue and'

The compound contains as
much blue as red or yellow.

yellow.

Violet consists of red and
blue.

In mixing green with orange, the grey is coloured by
yellow, that being the primary in excess.

Orange consists of red and

yellow.

Violet consists of red and
blue.

The compound contains twice
as much red as blue or
yellow.

Printing on Xylonite. — W. L. Brown 8c Co., New York,
announce that they are now prepared to furnish the trade with
indelible inks for printing on Xylonite. These inks are said to
be so prepared that they can be successfully used by any printer
on an ordinary printing-press. There are twelve distinct
colours, which are put up in one-pound cans. Xylonite ivory
being a very attractive and durable material for advertising
and display cards, it is believed that these inks will prove of

MACHINE AND PRESS WORK. 87

great advantage to the trade. Heretofore Xylonite has been
printed upon by an expensive process, heat and pressure being
necessary in connection with steel plates ; but by the use of
the new indelible ink this is overcome, and the Xylonite card
is placed within the reach of printers having only an ordinary
outfit.

A Hint for Printing on Xylonite Cards. — In print-
ing on these plates, the sheets are first slightly damped with
alcohol, which dissolves or softens the surface and allows the
ink to soak into the celluloid.

Sizes of Platens of Hand-Presses. — Presses are
made in various sizes, and classified, commencing with the
smaller, as card, quarto, folio, and broadside, corresponding
with the different sizes of paper used in printing. The size
of platen determines the classification, and the same conditions
apply to both kinds of presses' mentioned. Card or quarto
presses measure something less than the smallest dimensions
now given.

Name of Press. Size of Platen.

Foolscap folio 15 x gf inches.

Post „ 16x11 „

Demy „ 18 X 12 „

Foolscap broadside 19 x 14^ „

Crown
Demy
Royal

Super-royal
Double crown
Double demy
Double royal

21 X 16

24 X 18

26 X 20^

29 X 21

34 X 22i

36 X 23

40 X 25

Cylinder and Platen Machines. — The difficulty of
keeping good register on the perfecting machines is doubtless
caused by the platen machines being driven from the same
shafting. The platens should always be worked separately.

ROLLERS.

ROLLER Composition. — Owing to the introduction in
recent years of many patent and ready-mixed composi-
tions, very little is known in most printing offices as to the in-
gredients of composition rollers. One of the principal desi-
derata in a composition is its non-liability to be affected by
change of temperature ; for this purpose the use of glycerine
is very valuable, as it is little affected by heat, cold, or frost (it
never freezes), while retaining moisture much better than the
old treacle and glue compositions. The addition of glycerine,
however, necessitates different treatment in regard to clean-
sing. Water should not be used on a roller containing
glycerine or gelatine. The tendency of heat on rollers is to
soften them, and cold to harden them ; therefore for cold
weather the ingredient which gives softness to rollers should
be in larger proportion than in hot weather. If the ordinary
recipe were treacle eight parts and glue four parts, for cold
weather it would be best to give three parts of glue and nine
parts of treacle. These proportions would depend very
largely, however, on the quality of the glue, experience
teaching that this varies in a large degree. Another good
recipe for cold weather would be — glue ten parts, sugar ten
parts, and glycerine twelve parts. The glycerine will offer
strong resistance to frost and cold.

Best Period for Making Rollers. — The months of
April and May are the best to get rollers for summer use.
Don't wait until hot weather is on you. It cannot be expected
that winter-made rollers will work well in hot or muggy
weather.

ROLLERS. 89

Damp or Greasy Rollers. — These may be known by
their printing a dull, dirty grey instead of a proper black. If
new, wash them in turpentine ; if old, in lye. A far better
plan is to smother them in common ink-scrape, and sheet
them ; this is always effectual with greasy rollers. If a damp
roller does not recover with this treatment, you should hang
it up in a warm room until it does.

Remedies for Damp and Dry Rollers. — Some-
times pressmen find fault with their rollers, and there may
be reason for grumbling. If a remedy is wanted on the spot,
one or two suggestions noted lately may prove useful. If
a roller is affected by moisture in the atmosphere, wash it
with common alcohol, which evaporates the moisture very
quickly. If the roller is too dry, take lOO parts of glycerine,
10 parts of ammonia liquor, 40 parts of old beer, which has
turned sour; mix it well together, and wash the rollers for
about five to ten minutes, and even longer. The ammonia
re-opens the pores of the surface for the glycerine ; the beer,
by drying up, creates a compound which adheres strongly
to the surface of the roller.

Cleansing of Rollers, etc. — For some time past
Germans have been making use of oil of camphor for cleaning
rollers, type, woodcuts, machines, etc., in preference to turpen-
tine, petroleum, and benzine. The qualities which recommend
it as a cleansing agent are not to be overlooked. Firstly, it is
cheaper than the other liquids ; secondly, it is healthy, and
acts as a disinfectant in the printing office ; thirdly, it is as
efficacious and as rapid in its action as any of the products
employed up to the present ; and fourthly, it contains no
fatty matter, and leaves no deposit.

A Method of Renewing Printers' Rollers. — A
Berlinese has invented a cheap and simple way of renewing
old, worn-out rollers. The rollers are first cleaned with
acetic acid, then revolved in a solution of gelatine and
glycerine, which fills up the holes and forms a thin coat on
the top of the rollers. This dries while they are revolving,
and makes the rollers equal to new.

90 THE PRINTERS' HANDBOOK.

Cracked or Cut Rollers. — These are almost incapable
of being mended. If they are cut by working rule formes
they may be carefully " flared " with a piece of lighted paper,
and hung for a day or two to recover themselves. If split or
cracked by accident, let the flame of a lighted candle into the
fissure and close carefully with the fingers ; then let the roller
be hung up to recover itself. The fingers must be wet, to
prevent the composition sticking to them. Caution is neces-
sary not to use a cut roller for colour-work, as the old black
ink will be sure to ooze out of some of the apertures. When
working at press always cut round those parts of the roller-
handles which rest upon the ink-table before commencing
colour-work, or the black ink which adheres to them will
deteriorate the colour.

Recipe for Softening Rollers, etc. — The following
formula will be found invaluable in the press room : —

Boiled linseed oil 2^^ oz.

Balsam fir i^r oz.

Demar varnish 2 oz.

Balsam copaiba 3 oz.

Simple syrup 2^ drams.

Mucilage (gum arable) 2 drams.

Pulverized alum ^ dram.

Shake well and let stand for several hours before using.
A little of it softens up sticky rollers or ink, reduces ink
without affecting its colour, makes cold-weather printing
possible, is just the thing to mix various colours with in making
tints, and is in every respect more useful than the ordinary
printers' varnish. Try it and see if it is not so. The formula
will make about a quart.

Roller Fretting. — Put a roller on the slab in the proper
place in the carriage, see what you can get between the end
of the stock and the roller carriage (try a nonpareil first, or a
pica), and what you can get in will be the proper amount to
put in under the carriage ; it will then lift the roller parallel
to the slab. The real reason of " fretting " is because the
carriage lets the roller drop too low.

ROLLERS. 91

Good V. Bad Rollers. — On the pressing necessity of
good rollers for good printing a book might be written. Be
the type ever so new and bright, the machinery of the best and
most approved patents, and the ink up to the mark, without
a good roller all the labour and industry will be greatly
marred. The roller, black as it is, dull as it is, unpleasant to
handle as it may be, is the secret that, once learned, makes it
an easy task for a printer — with proper care in other direc-
tions, of course — to print well. On the maker depends the
quality of the roller, and on the pressman depends the duty of
keeping it in order.

W^arming Rollers. — If rollers have become too cold,
place them in warm rooms, not near the fire, until they re-
cover themselves. When they begin to work, place a candle
or gas jet under the ink-table — if an iron one, the flame about
a foot below the iron — and occasionally vary the position of
the light. The table must not be made hot, and the heat
applied must be imperceptibly small, as the object is only to
remove dampness and the rigidity of the cold.

Rollers out of Use. — Rollers put away in an upright
position, and allowed to remain idle for a week or longer, are
observed to have a smaller circumference near the ends than
at the middle. To avoid this it is suggested that the rollers
should be placed in boxes lying lengthwise, with a bearing at
both ends in the sockets provided for the purpose.

The Care of Rollers. — Rollers may be kept with a
fair working surface if put away with very oily ink on them.
If you put them away with ink that has much varnish or
dryers in it, you make short work of your rollers; for they
then harden and crack along the face, and the ink cakes
upon them. The "hardening effect of the atmosphere" is as
nothing to the contracting and splitting effect of dryers that
are allowed to cake on the roller. Even the too frequent use
of benzine, strange as it may seem to many, has the effect of
gradually shrinking a roller. Lye is destructive to the face
of the rollers when used by inexperienced or careless persons.
It is injurious in the best of hands when frequently used.

THE PRINTERS' HANDBOOK.

Put your rollers away well coated with thick oil that is free
from acid or alkali, oiling the ends even more carefully than
the face, and you will have no trouble. The whole theory
of roller treatment, however, is the prevention of the escape of
the moisture necessary to retain elasticity, tackiness, and the
other qualities that go to make a perfect inking implement.
A sponge-pan in the roller-box is the most valuable aid to the
longevity and working power of a roller. As to putting away
inky rollers, be wary of so doing, unless you are familiar with
the quality of the ink you are using. If this is of the quick-
drying job variety, we strongly advise washing off after using ;
and see that the rollers take their drink through their natural
organ, the pores, from the humid atmosphere of the roller-box
or closet, before they are used again.

Arched Rollers. — The arching of rollers is generally
caused by the roller becoming dried or hard. When it takes
place, and the outside edges bear off the centre of the roller,
cut a strip of the composition off each end with a sharp

knife.

Flaring a Roller. — This operation is both dangerous
to the roller and unsatisfactory in its results, but neverthe-
less we give particulars how to proceed with it, as it is a very
favourite device with London pressmen, especially in small
offices. It is as follows : — Get a sheet or two of waste
printing paper, make it up into a loose torch, and when
lighted flare the roller all over, just sufficient to add a new
face to the roller without melting the composition. This
plan will, if successfully executed, close up the fissures caused
by the cutting of brass rule.

Washing Rollers. — Rollers must not be washed with
lye until they are beginning to wear somewhat. Smothering
in common ink and scraping are recommended in preference.
Old enamelled-faced rollers may be washed with turpentine
with great advantage, as it makes them sticky, which pro-
duces a slight temporary suction in the roller. Washing with
turpentine will soon spoil a good roller, the stickiness produced
becoming a dryer or coating on the face of the roller.

ROLLERS. 93

Special Lye for Washing Rollers. — The following
recipe has been found successful : — 2 lbs. washing soda
(bruised), 2 lbs. brown unslacked lime, and 2 ozs. common
table salt mixed in three gallons of soft water, stirred. When
settled, pour off the liquor, and throw the sediments away.
When washing the rollers, sponge dry, with this lye only.
It is ready for use in an hour.

Cooling Rollers. — As ice-chests are now very common,
it may be well to warn the printer on no account to put a
roller in such a receptacle, or it will soon become frostbitten
and utterly useless. It might be thought that when the
roller is almost separating from the stock in hot weather
almost any mode of cooling it would be desirable. The
sudden chill to the surface is, however, quite enough to spoil
the roller before the cold has time to penetrate sufficiently
deep to harden the roller. If unworkable, owing to the ex-
cessive heat of the atmosphere, hang the roller all night in a
cool, dry cellar, or in any cool place where a good current of
air can get to it. If it is a small roller, swing it well to and
fro for a quarter of an hour before using it.

A Patent Roller Composition. — A special treatment
for composition rollers, having the advantage, it is claimed, of
keeping the ink clean and free from dross, has been patented.
Before the composition (which is of the same kind as that
commonly used) is applied to the stock, certain proportions
of either one or more of the following chemicals in solution
are mixed with it : — Bichromate of potash, bichromate of
ammonia, chrome alum, or tannin. The stock is coated, and
then exposed to daylight, or strong artificial light, which ex-
posure to the light renders the composition insoluble. The
composition is then ready to receive an oil varnish. It is
further claimed that the rollers are rendered very smooth,
and will ink much quicker than ordinary rollers, and that
machines can be run at greater speeds.

Rollers and Blue Ink. — To avoid the streaky or small-
poxy appearance so often seen in solid blue surfaces, more
especially when ultramarines are used, see that the rollers are
soft, and do not carry too much colour.

94 THE PRINTERS' HANDBOOK.

Difficult Rollers. — If printers' thin varnish be added to
the ink in small quantities it very frequently allows the
roller to work, although with a pale, greyish appearance.
The ink we now suppose is good, and the roller unruly. This
expedient should only be resorted to on emergencies, although
it is a favourite wrinkle with some pressmen. If you have a
very hard roller and wish to work a light job, such as a cir-
cular, spit four or five times on the ink-table and distribute
with a small job roller, holding it as you would a mallet, and
well hammer the table with it, distributing it at the same
time ; that is, each time the roller strikes the table draw it
along the table to the edge. Five or ten minutes bestowed
upon the roller in this manner will cause it to work off a
short numbered job quite satisfactorily.

Patent Felt Rollers. — This invention consists of a
roller or cylinder of wood or metal, the same being covered
with flannel, and over this prepared felt. The backing, where
such is used, may be flannel or cloth, wound about the roller,
the protecting layer being of oil-silk, oil-cloth, or water-
proofed fabric. The felt layer is saturated with a mixture
composed of substantially equal parts of refined beef tallow,
copal-lac and varnish, the said substances having been well
mixed and stirred in an equal quantity of turpentine oil. The
roller when dry is ground and smoothed. The roller is
claimed to possess several advantages in transferring ink or
colour to designs, type, etc., and in lithographic and zinco-
graphic printing. It is stated that the felt cylinder does not
expand like leather, and is not altered by impregnation with
colour.

To Dry or "Warm a Roller at a Short Notice. —
Hold it a few feet from a moderate fire and keep turning the
roller on its axle for five minutes. Or, take some sheets of
waste paper and make them as hot as you can, wrapping the
roller in them, one after the other. If a new roller be re-
quired from a roller-maker, always send a blanket with the
boy, to wrap it in. If to be sent by train, rollers should be
suspended in a box.

ROLLERS. 95

Too New Rollers. — Coat the roller by distribution with
balsam copaibae and let it hang for two hours ; after which,
scrape it. This evil-smelling drug is also very useful if
mixed with black or coloured inks when they do not work
satisfactorily.

Facts about Rollers. — The setting of a roller, es-
pecially on a cylinder press, requires care and judgment.
Rollers cast from re-casting composition never shrink. Roller
trucks should be one-sixteenth of an inch less in diameter than
the roller. Glue and molasses rollers should be kept in an
air-tight box with a shallow jar at the bottom for water as
needed. In damp weather remove the water, in dry weather
let the water remain. Rollers when out of use any length of
time should be put away with the ink on them to protect their
surface from the action of the atmosphere. It would be diffi-
cult to find a pressman who could be induced to believe there
was anything for him to learn in the making of rollers. Several
things enter into the choice of composition, such as quality of
ink used, climate, class of work, requirements of presses, etc.
The cores should be cleansed by scraping, or, if of wood, by
scalding in strong lye or soapsuds, then dried. New rollers
should be washed in sperm or coal oil before used. It will
prevent the strong suction. Turpentine is better than benzine
for removing coloured inks. Never use lye on new rollers.

Wear and Tear of Machine Rollers. — Someone
asks : " Can you give me a remedy for preventing machine
distributing rollers from wearing at the ends? We run our
weekly edition off on a. quad-demy Wharfedale machine at the
rate of l,looper hour; and before we have printed six or
seven hundred the rollers begin to wear. I may here state
that the inking rollers run for months without renewing."
— There may be more than one reason why the distributors
wear at the ends. Are the stocks clean and free from grease ?
A good plan to help composition to stick well to the stock is
to tie round the latter some tape or band previous to casting.
Perhaps the rollers are not sufficiently supported in their
runners ; distributors should be so fixed that they barely

96 THE PRINTERS' HANDBOOK.

touch the inking-table, and should not be allowed to be so
low in the runners as to cause them to bump against the ink-
table every time it returns. If too low, the runners should
be packed, so as to lift the rollers to barely leave their own
weight on the ink-table. A good way to prevent rollers
pulling is to cut off the end of the composition slopingly, and
hold the end of the roller in a gas flame : this will slightly
melt the composition, which may be drawn well over the
stock with the finger, effectually making the end air and
water tight. If the composition at the end of the roller is not
fast to the stock when washed, water gets under, with the
consequence that the composition swells, making the roller
thicker at the end than in the centre.

Renovating Old Rollers. — When rollers have been
lying for weeks with a coating of ink dried on to the surface — a
circumstance that often occurs, more especially when coloured
inks have been used — get an ordinary red paving brick (an old
one with the edges worn away will be the best), place the roller
on a board, then dip the brick in a trough of cold water and
work it gently to and fro on the surface from end to end, taking
care to apply plenty of water, dipping the brick in repeatedly;
and in a short time the ink will disappear. Nor is this all ; for if
a little care and patience is exercised, it will put a new face to
the roller, making it almost equal to new ; the coating of ink.
having, by keeping the air from the surface, tended to preserve
the roller from perishing. Sponge off clean.

To Cast Rollers. — See that the roller-mould is perfectly
clean ; make a mop and with it oil carefully every part of the
interior of the mould. Now turn your attention to the stock ;
be quite sure that it is perfectly dry, and if the composition
is apt to slip off it, bind some string very lightly upon it, then
place it in the mould, being very careful that it stands true
in the middle ; fit on the guide at the top, and fasten the
stock down to the mould with string lest it should rise ; then
warm the mould all over. Meanwhile your composition will
have been melting : take care that it does not boil, and stir it
about occasionally. Never re-melt old composition without a
good proportion of new, and if the old is very hard, you may

ROLLERS. 97

add some treacle. It is best to use one of the special kettles
sold by the printers' furnishers, as otherwise there may be
some difficulty in getting the composition to melt properly.
When it is quite melted, carefully pour it into the mould,
filling it to the level of an inch or two higher than the end of
the stock to allow for shrinkage. Let it stand for about
twelve hours ; then prepare to draw the roller out of the
mould. If it will not come readily, one man must hold the
stock and another the mould, and they must pull without
jerking in opposite directions. Pushing upon the lower end
of the roller may perhaps be necessary also, but if the mould
has been properly oiled there ought not to be much difficulty
in drawing it. When out, trim the ends, and hang it up in a
dry, cool place for a day or two before using.

Another Recipe for Casting Rollers. — Messrs.
Fairholme and Co. have just issued instructions as to the
treatment of their composition, and they will apply to com-
position generally. They are as follows : — Cut the composi-
tion into small pieces to assist it melting. If too firm, add
when melted a sufficient quantity of either glycerine or
molasses. Water must not be added, as the composition will
shrink on the rollers after casting if this is done. Have the
mould well warmed before filling, which is best done by
plunging the mould into hot water for a few seconds. This
prevents the composition getting chilled ere it reaches the
bottom. Carefully oil the inside of the mould. Renewing. — •
Sponge the face of the roller with warm water ; scrape off the
face thoroughly with a knife previous to removing the com-
position from the stock, and cut it up small. If the roller
has been used only a short time it may be melted as readily
as new composition. If too firm, add glycerine or molasses,
as mentioned above. It sometimes happens that small pieces
refuse to melt readily along with the bulk of the composition.
Such refractory pieces always float on the top. On no
account persevere in trying to melt these pieces, but remove
any such at once from the pot, and cast your roller, as by
continuing the heat there is great danger of overboiling the
whole, when the composition becomes leathery and ceases to

THE PRINTERS' HANDBOOK.

be a liquid. In remelting, a certain percentage of refractory
pieces is sure to occur, and must be sacrificed. Wash the
stocks after removing the old composition, to remove all traces
of grease. On no account allow the composition to remain
in the pot after it is melted, but pour immediately into
moulds. Every minute that the melted composition remains
it is deteriorating. Crystallization is caused by boiling, and
the composition becomes stiff and stringy.

Good Wearing Rollers. — It is stated that rollers made
from Chinese sugar-cane molasses are far superior to those
made with any other kind. The syrup will bear long boil-
ing without granulation, and when cast into a roller is much
tougher, more elastic, and has better suction than those made
by the material in common use.

Preserving Rollers. — A simple process for preserving
and renovating ink rollers, and adding greatly to their longevity,
is as follows : — A steam jacket is added to the roller closet, and
numerous fine jets are so arranged as to play gently upon
the rollers within. These jets thoroughly cleanse the surface
of the roller, the skin on its face disappears, the body of the
roller absorbs a portion of the heated vapour, and the whole
is kept in a fresh, elastic condition, ready for work without
further preparation. Experiments by practical men seem to
show that the contrivance possesses considerable value, and
is likely to prove very economical in large printing establish-
ments.

The Treatment of Rollers. — Rollers, like children,
who are subject to so many ailments, must be well attended
in order to be thoroughly healthy. There are times when
they are affected by the heat, cold, damp, and dry, and must
be treated accordingly. One of the secrets of good printing
is in using good rollers. A good roller should be moderately
soft and elastic, and not be too new. It depends upon the
manufacture how old it should be before being fit to work :
some rollers may be used a few hours after coming out
of the mould, while others of a damper nature should not
be used for a week. A new roller should have a moderately
dry face before putting it on the machine, otherwise it will

ROLLERS. 99

not take the ink properly, and will friar the type, and the
composition is likely to draw off the stock. They should
be washed with turps, and kept in a thoroughly dry place,
slightly oiled. Old rollers should be well washed with lye
and rinsed with water ; they should be smothered over
with thin broadside ink, but should occasionally be scraped
and re-inked to prevent drying on. In hot weather rollers
should be kept in a cool place. Wavers tearing away at
ends is frequently the case, especially in fast speed machines ;
to prevent it a little oil is often put on ends of slab, but this is
a dangerous plan, as it works in and causes the work to run
pale. Better methods are — Cut away the composition,
tapering within a few inches of ends ; or get a bucket of hot
water and dip the ends in until they become taper ; or screw
a piece of wood on to the end of ink-slab, about two inches
wide in centre, tapering off to a quarter of an inch at ends.
This will cause the wavers to start revolving from centre
instead of at ends, and will thus preserve them.

To Keep Rollers. — In Germany the following preser-
vative of rollers when not in use is often applied : — Corrosive
sublimate, l drachm ; fine table salt, 2 oz. ; put together in
half a gallon of soft water. It is allowed to stand twenty-four
hours, and is to be well shaken before using. Sponge the
rollers with the mixture after washing.

Lubricating Roller Moulds. — Sperm and lard oils
are the best. If they are properly used, no trouble will be
experienced in drawing the rollers.

To Clean Rollers used for Printing Copying
Inks. — It is best to avoid water, which always weakens them.
Spirits of wine proves much more efficient ; it takes the ink
off immediately, does not injure the rollers, and, as it
vaporizes almost immediately, they may be used directly.

Rollers should be cleaned at least once a day, never
mind what is said to the contrary. A roller, like our faces,
wants washing occasionally.

lOO THE PRINTERS' HANDBOOK.

Lithographic Rollers. — Take care of your rollers. A
good roller is worth at least as much as a good printer. A
roller that is not to be used in three days should be left in
medium varnish. A roller not to be used for eight days
should be covered with tallow. A roller not to be used for
months should be rolled up in glycerine. Provers should
keep at least six rollers — one for black, one for red, one for
yellow, one for blue, one for tint, and one good roller with
sharp grain for crayon drawings. The blue roller can be
used for green and purple also ; this will not last long, be-
cause blue, green, and purple inks eat into the roller, and the
frequent washings necessary will cause it to wear out soon.
Scrape the roller alternately with and against the grain —
that is, first in one direction and then in the opposite. A
roller too soft fills up the work ; one too hard takes the work
off the stone. A roller too smooth slips over the stone, and
takes the work off also. A roller with fine grain makes a solid
impression, but rusy. A roller with a rough grain makes a
sharp impression, but not a solid one. An uneven roller should
not be used at all. A bad roller is a detriment to every printer
using it, for the best of them can do nothing with it. The
best roller, even if costing double in price, is cheapest.

INKS, VARNISHES, ETC

HINTS on Colours. — It is not desirable to rely upon
make-shifts, but there are occasions when printers are
from circumstances obliged to decline work, not from a want of
knowing how to produce it, but from a lack of material to do
it with. We all know how small quantities of coloured ink
dry in cans. Provide yourself with a bottle of inkoleum,
which will reduce and refine the oldest and driest coloured
inks to a consistency that will make them work free without
injury to the colour.

RED INK.

If for fine work, procure a few ounces of the best vermilion
powder, and mix it well with thick varnish, allowing the
varnish to carry all the colour it possibly can ; when you com-
mence grinding with the colour stone and muller, do not
despair if you find the mixture form itself into a ball resem-
bling a lump of india-rubber ; if this should follow, add plenty
of muscle to the muller, and it will assume the consistency
required. If, when you attempt to work it, you find the colour
adhere to the inking-table, and the varnish attaches itself to
the roller and the printing looks poor and without body, add a
little of the inkoleum. If you require the red ink for surface
printing, use the middle varnish, and for poster or show work
use thin varnish by itself.

DARK BLUE INK.

This may be produced in the same way, by purchasing a
few ounces of dark Chinese blue, but requires a hundred per
cent, more grinding than the vermilion, and must be ground
in very small quantities at a time ; by simply spreading with

102 THE PRINTERS' HANDBOOK.

a palette knife you will see if it has a rough or smooth appear-
ance— it will recover its smoothness instantly ; do not be
deceived by it without this test.

LIGHT BLUE INK.

A very pretty blue may be made by substituting a few
ounces of Antwerp blue ; proceed as in the former directions,
but it will take more grinding than the vermilion, but less
than for the Chinese.

LIGHT GREEN INK.

To make this very little grinding is required, if the colour
obtained is of the best quality. In other respects proceed as
with the vermilion.

DARK GREEN INK.

Add to the above a small quantity of dark Chinese blue.

CRIMSON INK.

Use the purest carmine, well ground to a thick consistency;
a very small portion of this added to the vermilion will give it
" fire," and kill the brick-dust appearance.

PINK INK.

Lower the carmine with pure flake white.

COMMON BROWN INK.

Add a small quantity of black to the vermilion.

TINTS, ETC.

Grey sets off a colour better than either black or white.
White, gold or black will serve as an edging to any colour. A
white ground has a tendency to make colours upon it appear
darker, while a black ground has a contrary effect. In the
association of two tones of one colour, the effect will be to
lighten the light shade and darken the other. The fact that in-
congruous colours are often harmoniously combined in nature
is no guarantee that they may be similarly applied in art.

INKS, VARNISHES, ETC. 103

Type-Writer Ribbon Ink. — Aniline black or violet,
half ounce ; pure alcohol, 15 oz. ; concentrated glycerine,
15 oz. Dissolve the aniline in the alcohol and add the
glycerine.

A Good Dryer for Poster Inks. — Spirits of turpen-
tine, one quart ; balsam copaiba, six ounces. Add a sufficient
quantity of ink to thin it to a proper consistency for working.
This compound is one of the best that can be used as a dryer ;
it brightens the inks and makes them work freely. Ruling-
inks can be made to dry quickly by adding half a gill of
methylated spirits to every pint of ink. The spirit is partly
soaked into the paper and partly evaporates, and it also makes
the lines firm.

A Good Black Varnish. — By means of a gentle heat
dissolve 50 parts of powdered copal in 400 parts of the oil of
lavender ; add 5 parts of lampblack and 1 part of powdered
indigo.

To Make Stencil Ink. — A good and cheap stencil ink,
in cakes, is said to be obtained by mixing lampblack with fine
clay, a little gum arabic or dextrine, and enough water to
bring the whole to a satisfactory consistency.

A Bronze or Changeable Hue. — A bronze or change-
able hue may be given to inks with the following mixture :
Gum shellac, l|lb., dissolved in one gallon of 95 per cent,
alcohol or Cologne spirits for twenty-four hours. Then add
14 oz. aniline red. Let it stand for a few hours longer, when
it will be ready for use. When added to good blue, black, or
other dark inks, it gives them a rich hue. The quantity used
must be very carefully apportioned. In mixing the materials,
add the dark colour sparingly at first, for it is easier to add
more, if necessary, than to take away, as in making a dark
colour lighter you increase its bulk considerably.

Printing Oil. — Linseed oil, 1 quart; 1 pint of rape oil;
1 oz. balsam of copaiba; | oz. of pitch; ^ oz. of amber oil;
i oz. of white lead.

104 THE PRINTERS' HANDBOOK.

Handling of Small Cans of Ink. — A good plan is to
remove the lid and place the tin in a black jar or pot slightly
larger. Throw away the lid of the can and keep the ink
workable by pouring on the top a little glycerine. The lid of
the jar is then put on, and the whole can be used without
defiling the fingers.

Reducing Tint Inks. — Colour for tint work is invariably
toned down with varnish. If the colour appears mottled, add
a little flake white to give it body.

Green Transparent Varnishes for Metals. — Grind
a small quantity of Chinese blue with double the quantity of
finely powdered chromate of potash (it requires the most per-
fect grinding) ; add a sufficient quantity of copal varnish
thinned with turpentine. The tone may be altered by adding
more or less of one or the other ingredients.

Stamping Inks. — Red: dissolve one-fourth of an ounce
of carmine in two ounces of strong ammonia, and add one
drachm of glycerine and three-fourths of an ounce of dextrine.
Blue : rub one ounce of Prussian blue with enough water to
make a perfectly smooth paste ; then add one ounce of dex-
trine, incorporate it well, and finally add sufficient water to
bring it to the proper consistency.

Improved Dryer for Printing Ink. — Many of the
*' dryers " that are now sold are very unsatisfactory. Printed
work for which they are used not unfrequently sets off, and is
at all times difficult to handle. If the greatest care is not used
there is " spoilage." Here is a recipe supplied by a practical
chemist, which deserves to be tried : — A small quantity of
perfectly dry acetate of lead or borate of manganese in impal-
pable powder will hasten the drying of the ink. It is essential
that it should be thoroughly incorporated with the ink by
trituration in a mortar.

Component Parts of Printing Inks. — Varnish com-
posed of linseed oil, resin and soap, and the pigment; in the
case of black ink, lampblack and indigo with Prussian blue.

INKS, VARNISHES, ETC. 105

Method for Making Red Ink. — Red printing ink may
be made in this way: — Boil linseed oil until smoke is given
off Set the oil then on fire, and let it burn until it can be
drawn out into strings half-an-inch long. Add one pound of
resin for each quart of oil, and one half-pound of dry, brown
soap cut into slices. The soap must be put in cautiously, as
the water in the soap causes a violent commotion. Lastly,
the oil is ground with a pigment on a stone by means of a
muller. Vermilion, red lead, carmine, Indian red, Venetian
red, and the lakes are all suitable for printing inks.

Japanners' Gold Size. — Powder finely of asphaltum,
litharge, or red lead, each one ounce ; stir them into a pint of
linseed oil, and simmer the mixture over a gentle fire or on a
sand-bath till solution has taken place, scum ceases to rise,
and the fluid thickens on cooling. If too thick when cool, thin
with a little turpentine.

Copying Ink. — An ink to be used without press or water
can be made by taking three pints of jet-black writing ink
and one pint of glycerine. This, if used on glazed paper,
will not dry for hours, and will yield one or two fair, neat, dry
copies, bv simple pressure of the hand, in any good letter
copy-book. The writing should not be excessively fine, nor
the strokes uneven or heavy. To prevent " setting off," the
leaves should be removed by blotting-paper.

Preserving Ink. — Coloured inks can be kept from
" skinning " by pouring a little glycerine, oil, or water on the
top, and closing the can tightly.

Endorsing Ink. — Is made of Prussian blue well ground
up with linseed oil.

To Make W^hite Ink. — Mix pure, freshly precipitated
barium sulphate or flake white with water containing enough
gum arabic to prevent the immediate settling of the substance.
Starch or magnesium carbonate may be used in a similar way.
These must be reduced to impalpable powder.

io6 THE PRINTERS' HANDBOOK.

Gold Ink. — For making gold ink take equal parts of iodide
of potassium and acetate of lead ; put them on a filter, and
pour over them twenty times the quantity of warm distilled
water. As the filtrate cools iodide of lead separates in golden
scales. This is collected when the filtrate has quite cooled,
washed with cold water on a filter, and rubbed up for an ink
with a little mucilage. The ink must be shaken every time it
is used.

Hardening Gloss for Inks. — Dissolve gum arabic in
alcohol or a weak solution of oxalic acid, and add it in small
quantities to the ink in use.

Turkey Red by a New Process. — An interesting
method has been lately introduced for producing the beautiful
Turkey red from alizarine. A certain quantity of Turkish red
oil is dissolved in water, and a certain percentage of alizarine
added, also tannin. This mixture is slowly heated to a boiling
temperature, and a solution of aluminum sulphite added, of
1.1014 specific gravity, which has been previously mixed
with twenty-two per cent, of soda crystals. On prolonged
boiling, the alizarine lake separates out, this being freed from
excess of oil by washing with ether. It then forms a powder
of splendid carmine-red colour, which is constant in the light,
and is not attacked by dilute acids and alkalies. It still con-
tains a certain quantity of oil, which cannot be removed by
ether, but which gives the lustre to the preparation. When
mixed in a thorough manner with water, the lake can be used
for dyeing tissues in shades similar to those produced by
eosine.

Stencil Blue Ink. — Shellac, 2 ounces; borax, 2
ounces ; water, 25 ounces ; gum arabic, 2 ounces ; and
ultra-marine sufficient. Boil the borax and shellac in some
of the water till they are dissolved, and withdraw from the
fire. When the solution has become cold, add the rest of the
25 ounces of water and the ultra-marine. When it is to be
used with the stencil it must be made thicker than when it is
to be applied with a marking brush.

INKS, VARNISHES, ETC. 107

Printing Ink. — The following hint is valuable, for it is
only, as a rule, known to old-fashioned pressmen. The
scrapings and dregs of ink-casks, skins of ink, scrapings of
rollers, and waste ink generally, if sent to a small ink-maker
to be remade up with some fresh ink, will turn out the best
ink for a printer's use that can be obtained. We have known
splendid specimen-work done with ink thus compounded, some
of the material having been laid aside for years as waste. If
the printer has an ink-grinding machine he may make the ink
himself.

To Make Chinese ^Vhite. — Take as much as required
of zinc white finely ground, put it on a marble or glass slab,
mix it into a cream of the required consistence by adding
mucilage of gum tragacanth, grinding with a glass muller.
For quantity required to fill an ordinary sized Chinese white
bottle, add to the above 10 or 1 2 drops of thick gum arabic
and 5 or 6 drops of pure glycerine, grinding well together.

Bookbinders' Varnish. — The best receipt for making
varnish for full calf extra work is as follows : — 3 pints of
spirits of wine of 40 per cent., 8 oz. shellac, 8 oz. sandarach,
2 oz. mastic in drops, 2 oz. Venice turpentine ; apply lightly
on the book with a piece of cotton wool, a small sponge, or a
brush.

How to Improve Black Ink on Creamy Paper.
— The brownish hue seen in black ink when printed on toned
paper may be obviated by mixing a little blue ink with the
black.

Varnish in Colour Printing. — In the manipulation
of colours nothing forms a more important factor than the
varnishes with which the pigments are mixed. It matters
not how pure and well-ground these may be if the consistency
of the varnish is unsuited to the peculiar colour to be made
into printing ink. A practical knowledge of this branch of
work is seldom attained ; although we know no reason why
any pressman neglects to learn all that pertains to colours and

lo8 THE PRINTERS' HANDBOOK.

their treatment in the manufacture of ink, except it be foolish
negligence. To be a good pressman a wide range of study
in all that pertains to the manipulation of colours is neces-
sary. It matters not how thorough a person's ability may be
to make ready a forme, his dexterity m getting it worked off,
or his precision in the management of work ; if he lacks
sound, practical knowledge of colour-making, he is still defi-
cient in his business. To such a one colours are a labyrinth
of confusion, and a lack of this knowledge is at times the cause
of large outlay and waste to employers, who, from a want of
personal practical insight, allow their workmen to guess what
is required. Nor should there be a want of attention or in-
formation in the matter of paper used in printing. This part
of a printer's study is as important as colour manipulation,
for there are excellent inks that will not work on some papers.
To overcome this a familiarity with paper surfaces and the
materials used in their manufacture is an essential matter.

Dryer for Ruling Inks. — Ruling inks are made to dry
quickly by using half a gill of methylated spirits to every
pint of ink. The spirit is partly soaked into the paper and
partly evaporates ; it also makes the lines firm.

Imperishable Ink. — The nearest approach yet dis-
covered is made by grinding up good Chinese or Japanese
Indian ink in a saturated solution of borax. The Indian ink
is itself imperishable, but can be washed off from paper before
the borax solution fixes it.

Imitation Gold Lacquer. — The preparation of the
real Chinese gold lacquer is a secret, but an excellent imita-
tion may be prepared by melting two parts of copal and one
of shellac, so as to form a perfectly fluid mixture, and then
adding two parts of hot boiled oil. The vessel is then to be
removed from the fire and ten parts of oil of turpentine
gradually added. To improve the colour addition is made of
a solution in turpentine of gum gutta for yellow and dragon's
blood for red in sufficient quantity to give the desired shade.
The Chinese apparently use tinfoil to form a ground, upon
which the lacquer varnish is laid.

INKS, VARNISHES, ETC. 109

To Make Lye. — Use one pound of pearlash to three
quarts of water, or one pound of potash to five quarts of water.

Indelible Ink. — A cheap indeHble ink can be made thus :
Dissolve in boiling water twenty parts of potassa, ten parts of
finely-cut leather chips, and five parts of flowers of sulphur,
the whole heated in an iron kettle until it is evaporated to
dryness. Then the heat is continued until the mass becomes
soft, great care being taken that it does not ignite. The pot
is now removed from the fire, allowed to cool, water is added,
and the solution strained and preserved in bottles. This ink
will readily flow from the pen.

Restoring Writing on Old Deeds. — The faded ink
on old parchments may be so restored as to render the writ-
ing perfectly legible. Moisten the parchment or paper with
water, and then pass over the lines in writing a brush which
has been dipped in a solution of sulphide of ammonia. The
writing will immediately appear dark, and this colour it will
preserve. Parchment records treated in this way in the
Museum at Nuremberg ten years ago are still perfectly
legible. On paper, however, the colour gradually fades
away ; but by the application of the sulphide it can be
restored ; for the iron which enters into the composition of
the ink is transformed by the reaction into black sulphide.

Luminous Paint. — White luminous paint has been
known for some years, and chiefly used for watch dials, match
boxes, and other small objects, but all attempts to produce
luminous paints of various colours have hitherto failed, owing
to the fact that the sulphuret of calcium, the principal con-
stituent, is decomposed by the metals contained in the usual
colours, whereby not only the luminosity, but also the colour,
is destroyed. Lately, however, G. Schatte, of Dresden, has
succeeded in producing red, blue, green, and otherwise
coloured paints, which have the quality of shining in the dark
with the same colour which they possess in the daylight. It
is easy to see that a variety of artistic effects may be produced
by means of such business colours.

no THE PRINTERS' HANDBOOK.

Black Bordering. — The best shining black ink, used
for mourning paper, which has up to the present time been
kept a secret by makers, may be prepared of lampblack,
borax, and shellac. The ink is made as follows : — In l litre
of hot water 60 grammes of borax are dissolved, and to this
solution three times the quantity of shellac is added. After
this mixture has been properly dissolved, the necessary quan-
tity of lampblack is added, the whole being constantly stirred.
Should the lustre not be satisfactory, more shellac is added.

How to Remove Aniline Ink from the Hands. —

Aniline inks are now in common use, especially in connection
with the various gelatine tablets for multiplying copies of
written matter. Upon the hands it makes annoying stains,
difficult of removal by water or acids. They may be easily
washed out by using a mixture of alcohol, three parts, and
glycerine, one part.

Composition for Bronze Work is a mixture of
chrome yellow and varnish. The chrome is well ground
with a muller into the varnish. This gives the bronze, espe-
cially gold, a fuller tint than if the plain varnish only is used.
It answers equally well for copper, citron, or emerald bronze.
To give silver bronze a deep appearance ordinary dark blue
ink may be used.

Picture Varnish. — Gum mastic, 6 ounces ; pure tur-
pentine, 4 drachms; camphor, 2 drachms; oil of turpentine,
19 ounces. Add first the camphor to the turpentine, and
heat them over a water-bath until solution is effected. Then
add the gum mastic and the essential oil of turpentine, and
finely filter through cotton wadding. The varnish, on being
kept several months, improves in toughness and brilliancy. It
is to be applied with a fine varnish brush ; when quite dry it
will stand washing without injury.

Pheasant Colour. — Whiting, 9 parts; 9 parts flint;
1 part prepared oxide cobalt.

INKS, VARNISHES, ETC. in

Rubber Stamp Ink. — The following proportions are
said to give an excellent ink, which, while not drying up on
the pad, will yet not readily smear when impressed upon the
paper : — Aniline red (violet), 90 grains ; boiling distilled
water, 1 oz.; glycerine, i teaspoonful ; treacle, half as much
as glycerine. The crystals of the violet dye to be powdered
and rubbed up with the boiling water, and the other ingredients
stirred in.

Another Method. — It is said another endorsing ink,
■which does not dry quickly on the pad, and is quickly taken
by the paper, can be obtained by the following receipt : —
Aniline colour in solid form (blue, red, &c.), 16 parts, 80 parts
boiling distilled water, 7 parts glycerine, and 3 parts syrup.
The colour is dissolved in hot water, and the other ingredients
are added whilst agitating. This endorsing ink is said to
obtain its good quality by the addition of the syrup.

Quick Drying Indian Ink. — This ink for drawing may
be improved so that even the thickest lines will quickly dry by
adding one part of carbolic acid to eighty of the Indian ink.
If too much is added it may be rectified by putting in more
Indian ink. If the mixture is properly formed the ink is as
easy to draw with as it is without carbolic acid, but dries
quickly, and may even be varnished without discharging.

Quick Drying Varnish for Paper Book Covers. —

Add to the varnish a solution made as follows : — 6 ounces
mastic, in drops ; 3 ounces coarsely powdered glass, separated
from the dust by a sieve; 32 ounces spirits of wine of 49".
Place the ingredients in a sand-bath over a fire, and let them
boil, stirring well. When thoroughly mixed introduce 3
ounces spirits of turpentine, boil for half an hour, remove
from the fire, cool, and strain through cotton cloth. Great
care in manipulation is requisite to avoid a conflagration.
Use a close fire and watch incessantly.

Prepared Blue for Printing. — Oxide cobalt, 10 lbs. ;
12 oz. red lead. The above to be calcined in oven. Then
pound, add 10 lbs. of whiting, and send to mill to be ground.

112 THE PRINTERS' HANDBOOK.

Sympathetic Ink. — An ordinary solution of gumcamphor
in whisky is said to be a permanent and excellent sympathetic
ink. The writing must be done very rapidly, as the first
letters of a word have disappeared by the time the last are
written. Dipping the paper in water brings it out distinctly,
and it becomes invisible again when the paper is dried. It
can be brought out repeatedly without affecting its vividness.

Cheap Black Ink. — A German paper gives the follow-
ing : — Extract of Campeachy wood lOO parts, lime water 800
parts, phenol (carbolic acid) 3 parts, hydrochloric acid 25
parts, gum arable 30 parts, red chromate of potash 3 parts.
The extract is first dissolved in the lime water on a steam-
bath with frequent stirring or shaking; after this the carbolic
and hydrochloric acids are added, which change the red
colour to a brownish yellow. It is then heated half an hour
on steam-bath and set aside to cool. It is next filtered, and
the gum and bichromate, dissolved in water, are added.
Enough water is added to make up the solution to 1 ,800 parts.
This ink, red when first used, quickly turns black.

Krasible Ink Stencil can be made of lampblack or
bone-black, one ounce ; yellow soap, one drachm ; water
sufficient ; mix and beat into a paste.

To Test Japan and Varnish. — Japan, like varnish,
must be good to give entire satisfaction, and much damage is
done by using a poor article. One way of testing a japan is
to spread some on a piece of glass and leave it in the direct
rays of the sun. When it has entirely lost its fluidity, scratch
it lightly with the nail, and if it falls in powder without cracks,
its quality is proven good. This is also said to be a good
way of testing varnish. The liquid which begins to enamel
in places is of an inferior quality.

Violet Aniline Ink for 'Graph Printing can be
made by dissolving one part nigrosine in five parts of water
and one part of alcohol, adding afterwards one part of
glycerine. Violet is used because it gives more copies than
any other colour.

INKS, VARNISHES, ETC. 113

Indelible India Ink. — Draughtsmen are well aware
of the fact that lines drawn on paper with good India ink which
has been well prepared cannot be washed out by mere spong-
ing or washing with a brush. Now, however, it is proposed
to take advantage of the fact that glue or gelatine, when mixed
with bichromate of potassa and exposed to the light, becomes
insoluble, and thus renders India ink, which always contains a
little gelatine, indelible. Reisenbichler, the discoverer, calls
this kind of ink " Harttusch," or hard India ink. It is made
by adding to the common article, when making, about one per
cent, of bichromate of potash in a very fine powder. This
must be mixed with the ink in a dry state, otherwise, it is said,
the ink could not be ground up easily in water. Those who
cannot provide themselves with ink prepared as above in the
cake, can use a dilute solution of bichromate of potash in rub-
bing up the ink ; it answers the same purpose, though the ink
should be used thick, so that the yellow salt will not spread.

Ticket Writers' Ink is made of good black ink with
liquid gum added in the proportion of half an ounce of gum to
a gill of ink. Set in a warm place and shake up occasionally
till well mixed. If wanted very glossy add more gum, always
remembering that increasing the quantity of gum makes the
ink less easy in working.

An Elastic Flexible Varnish for Paper, which may
be applied without previously sizing the article, may be pre-
pared as follows : — Crush transparent and clear pieces of
dammar into small grains ; introduce a convenient quantity —
say forty grains — into a flask, pour on it about six ounces of
acetone, and expose the whole to a moderate temperature for
about two weeks, frequently shaking. At the end of this time
pour off the clear saturated solution of dammar in acetone,
and add, to every four parts of varnish, three parts of rather
dense collodion ; the two solutions are mixed by agitation, the
resulting liquid allowed to settle, and preserved in well-closed
phials. The varnish is applied by means of a soft beaver-
hair pencil, in vertical lines. At the first application it will
appear as if the surface of the paper were covered with a thin

114 THE PRINTERS' HANDBOOK.

white skin. As soon, however, as the varnish has become dry,
it presents a clear, shining surface. It should be applied in
two or three layers. This varnish retains its gloss under all
conditions of weather, and remains elastic; the latter quality
adapts it especially to topographical crayon drawings and
maps, as well as to photographs.

Marking-Ink Without Nitrate of Silver. — One
drachm of aniline black is rubbed up with 60 drops of strong
hydrochloric acid and l\ oz. of alcohol. The resulting liquid
is then to be diluted with a hot solution of l| drachms of gum
arabic in 6 oz. of water. This ink does not corrode steel pens,
and is unaffected either by concentrated mineral acids or by
strong lye. If the aniline black solution is diluted with a
solution of \\ oz. of shellac in 6 oz. of alcohol, instead of with
gum water, an ink is obtained which, when applied to wood,
brass, or leather, is remarkable for its black colour.

Chrome "Writing Ink. — This useful, cheap, and almost
unalterable ink can be made according to the following recipe :
Distilled water, 1,000 parts (by weight); logwood extract,
16 parts; carbonate of soda (cryst.), 2 parts; chromate of
potassium, 1 part. Dissolve the logwood extract in goo parts
of water by aid of heat, and let it stand to settle ; draw off
the clear liquid, heat to boiling, and add the carbonate of
soda ; lastly add, drop by drop, with constant stirring, the
chromate (yellow chromate) previously dissolved in lOO parts
of water. The colour is not fully developed at once, but on
standing for a few hours gradually deepens to a full bluish
black. The ink thus prepared flows well and dries quickly.
The addition of a trace of clove oil will prevent mouldiness.

Indestructible Ink. — India ink, and many other
varieties of ink containing considerable quantities of carbon,
are practically indestructible — that is to say, they are far more
permanent than the material on which they are used, as paper
in time becomes exceedingly brittle and friable. A very good
formula is the following, which is said to yield an ink very
much resembling that forming the characters upon the

INKS, VARNISHES, ETC. 115

Egyptian papyrus : — Make a solution of gum lac in an aqueous
solution of borax, and add to this a sufficient quantity of lamp-
black to give the proper black coloration. This ink is claimed
to be almost indestructible, resisting both time and chemical
agents, and yielding a beautiful lustrous black. The printing
press has, for the general preservation of literary treasures,
largely reduced the necessity for indestructible materials upon
which to record them permanently, since they may readily be
duplicated and distributed. But the question of the preserva-
tion of important public records upon more permanentmaterials
than wood paper and indifferent inks, will doubtless make itself
felt as a grave necessity before many more years have passed.

Frost-proof Ink. — Aniline black one drachm, rub with
a mixture of concentrated hydrochloric acid one drachm, pure
alcohol 10 ounces. The deep blue solution obtained is diluted
with a hot solution of concentrated glycerine l| drachms, in
four ounces of water. This ink does not injure steel pens, is
unaffected by concentrated mineral acids or strong alkalies,
and will not freeze at a temperature of 22 or 24 degrees be-
low zero.

Ink for Writing on Glass. — This can be made by
dissolving in strong hydrofluoric acid enough gum arable to
make the liquid flow readily from a pen without being viscid,
and to colour it with cudbear or some other colouring matter
which will stand an acid, so that the writing may be visible to
the eye. The solution must not be made in a glass vessel,
but is best made in a rubber bottle. When a portion is poured
out, it should be poured into a platinum or lead vessel, or
into a rubber nipple set up in a small wide-mouthed bottle.
Care must be taken that the acid be not brought in contact
with the skin, as it produces painful and troublesome sores.

To Give a Silky Effect to Ink.— The new style of
silk and satin lettering for showcards is produced as follows :
Take an impression in any colour mixed with varnish, and
dust it as in bronzing with powdered asbestos.

ii6 THE PRINTERS' HANDBOOK.

Cardinal Ink for Draughtsmen. — The solution of
carmine lake in caustic aqua ammonia is attended with this
disadvantage — that, in consequence of the alkaline properties
of ammonia, the cochineal pigment will in time form a basic
compound, which, in contact with a steel pen, no longer pro-
duces the intense red, but rather a blackish colour. To avoid
this, prepare the ink as follows : — Triturate 10 grains of pure
carmine with 150 grains of acetate of ammonia solution and
an equal quantity of distilled water, in a porcelain mortar,
and allow the whole to stand for some time. In this way a
portion of the alumina, which is combined with the carmine
dye, is taken up by the acetic acid of the ammonia salt, and
separates as precipitate, while the pure pigment of the
cochineal remains dissolved in the half-saturated ammonia.
It is now filtered, and a few drops of pure white sugar syrup
added to thicken it. In this way an e.\cellent red drawing
ink is obtained, which holds its colour a long time. A solu-
tion of gum arable cannot be employed to thicken this ink,
as it still contains some acetic acid, which would coagulate
the bassorine, one of the natural constituents of gum arable.

Old Manuscript Ink. — The following formula is said to
have been in use in 1654, and to have produced an ink of
great permanency, if one may judge from manuscripts written
by the person who is the authority for the formula : — One
and one-half drachms of coarsely powdered galls, six drachms
of sulphate of iron, ten drachms of gum arabic, and one pint
of soft water, are to be placed in a bottle, which is to be
securely stoppered and placed in the light (sunlight if pos-
sible). Stir occasionally until the gum and copperas are dis-
solved, after which the bottle should be shaken daily. In the
course of four to six weeks the ink will be fit for use. The
addition often drops of carbolic acid will prevent the forma-
tion of mould.

Diamond Ink for Glass. — The ink used for writing or
etching upon glass is composed of ammonium fluoride dis-
solved in water and mixed with three times its weight of
barium sulphate.

INKS, VARNISHES, ETC. 117

Lithographic Ink. — The following is a recipe likely to
be useful to amateur lithographers and others: — Wax, 16
parts ; tallow, 6 parts ; hard tallow soap, 6 parts ; shellac,
12 parts; mastic in tears, 8 parts; Venice turpentine, 1
part ; lampblack, 4 parts. The mastic and lac, previously
ground together, are to be heated with care in the turpentine ;
the wax and tallow are to be added after they are taken off
the fire, and when the solution is effected the soap shavings
are to be thrown in. Lastly, the lampblack is to be well
intermixed. Whenever the union is accomplished by heat,
the operation is finished ; the liquor is left to cool a little, then
poured out on tables, and, when cold, cut into square rods.
Lithographic ink of good quality ought to be susceptible of
forming an emulsion so attenuated that it may appear to be
dissolved when rubbed upon a hard body in distilled or river
water. It should be flowing in the pen, not spreading on the
stone ; capable of forming delicate traces, and very black to
show its delineations. The most essential quality of the ink
is to sink well into the stone, so as to reproduce the most deli-
cate outlines of the drawing, and to afford a great many im-
pressions. It must, therefore, be able to resist the acid with
which the stone is moistened in the preparation, without letting
any of its greasy matter escape.

White Ink for Pen Drawing. — Mix pure freshly
precipitated barium sulphate or flake white with water con-
taining enough gum arable to prevent the immediate settling
of the substance. Starch or magnesium carbonate may be
used in a similar way. They must be reduced to impalpable
powders.

Vanishing Black Writing Ink. — To make an ink,
black at the time of writing, but which shall disappear after a
short time, boil nut-galls in aqua vitse, put Roman vitriol and
sal ammoniac to it, and when cold dissolve a little gum in it.
Writing done with this ink will vanish in twenty-four hours.

Printers' Size. — Common soda, | lb. ; 1 lb. soft soap ; 1
gallon water.

118 THE PRINTERS' HANDBOOK.

A Recipe for Marking Ink. — Take nitrate of silver ii
grains, dissolve in 30 grains of aqua ammonia. Dissolve 20
grains of gum arabic in 8^ grains (2^ teaspoonfuls) of rain-
water. When the gum is dissolved, put in the same phial
also 92 grains of carbonate of soda. When all are dissolved,
mix the contents of both phials together, and place the phial
containing the mixture in a basin of water, and boil several
minutes, or until a black compound is the result. When cold
it is ready for use.

New Invisible Ink. — To make the writing or drawing
appear which has been made upon the paper with the ink, it
is sufficient to dip it into water. On drying, the traces dis-
appear again, and reappear by each succeeding immersion.
The ink is made by intimately mixing linseed oil, 1 part ;
water of ammonia, 20 parts ; water, 100 parts. The mixture
must be agitated each time before the pen is dipped into it, as
a little of the oil may separate and float on top, which would,
of course, leave an oily stain upon the paper.

A New Varnish. — The base consists of paper treated
with nitro-sulphuric acid and camphor dissolved in alcohol.
The varnish is composed of this ingredient, with acetic ether,
sulphuric ether, castor oil, Venetian turpentine, methylated
alcohol, acetate of amyl, and pure crystallizable acetic acid in
definite proportions. This varnish is said to have the follow-
ing properties : — It is unaffected by water and humidity, and
will also resist weak and concentrated acids, and likewise
alkalies if contact be not too prolonged ; it takes a fine
polish. It can only be applied to surfaces warmed either by
the sun, before the fire, or in an oven at the temperature of
35° to 45° centigrade. If applied to a cold surface it becomes
white, and the coat is wanting in coherence and possesses
none of the qualities of the same varnish applied to a warm
surface. Any kind of brush may be used for applying it. It
dries in two minutes at the outside, so that twenty-five or
thirty coats may be applied per hour. It may be rendered
more flexible, and may then be applied to cold surfaces, by
adding crystallizable acetic acid and acetate of amyl.

INKS, VARNISHES, ETC. 119

Black Enamel for Brass Plates. — The enamel on
brass signs, by which the letters cut into the metal are filled
up, is made by mixing asphaltum, brown japan, and lamp-
black into a putty-like mass ; fill in the spaces and clean the
edges with turpentine.

Indelible Aniline Ink. — It is necessary, to render this
ink indelible on paper, to coat the reproduction with some
preparation. An excellent compound consists of collodion
dissolved to the consistency used by photographers, with two
per cent, stearine added.

Ink for Enamelled Cards. — For printing on enamelled
cards add to good quality printing ink a composition of copal
varnish 1 oz., mastic varnish 1 oz. Mix together, add twenty
drops to the ink, and print. Old enamelled cards are better
to print upon than new ones.

Calico Printing Dye. — The black dye used is obtained
from myrabolans, a highly astringent fruit imported from
India and other eastern countries.

Recipe for Printing Gloss Ink. — Take one pound
of sugar of lead, one pound of white copperas, and half a
pound of litharge oil, in a jar, which should be kept in a cool
place. This preparation is printed from a solid block of a
size covering as much of the already printed job as may be
required to be glossed. It is very quick drying, and only as
much must be put on the ink-table at one time as will be suf-
ficient for a few minutes' use.

Transparent Paint for Glass is made by rubbing the
colours chosen in a size made of Venice turpentine, two parts,
and spirit of turpentine, one part.

Dryer for Printing Ink. — Mix 6 oz. of balsam of
copaiba with one quart of spirits of turpentine ; add a little
to the printing ink when necessary. This dryer will make the
ink work freely, and, in addition, will brighten the colour.

120 THE PRIXTERS' HANDBOOK.

Lithographic Writing Ink. — Tushe is the name for
this. Almost all the tushe in the market cracks easily and
does not flow well from the pen upon zinc. This may be
remedied by preparing a tushe, in the usual manner, of 8
parts white beeswax, 5 parts Castile soap, 15 parts shellac,
1 part mastic (in drops), 10 parts dragon's blood, 6 parts
tallow, and 1 part lampblack. Form into sticks, and when
using dissolve one part of this tushe in ten parts of boiling
water. This tushe has proved the very best for work upon
zinc.

Rubber Varnish. — The waste scraps of vulcanized
rubber — a mixture of rubber and sulphur — which dealers in
hard rubber goods can supply in abundance, will furnish an
excellent and quick-drying varnish. Its colour can be varied
from a golden yellow to the deepest brown. It sticks very
well to metals, and can be employed on electric apparatus.
The clippings are put into a deep earthenware pot, covered
with a tight lid, and set upon hot coals. At the end of five
minutes take the pot off from the fire and see if the material is
melted. While the pot is on the fire take care not to lift
the lid up, because the vapours which would be thrown off
take fire easily. After the rubber is all melted, so that it can
be poured out and there are no more whole pieces to be
seen, pour it into a flat basin. The basin should be rubbed
with grease beforehand, and after the mass is cooled it is
readily detached. Then break into pieces, put it into a large
bottle, pour on some benzole and rectified spirits of turpen-
tine, and shake the mixture up several times. The solution
being complete, pour out the liquor to get rid of the impuri-
ties and hardened rubber which remain at the bottom, and a
very limpid, beautiful, and excellent varnish is obtained.

Glossy Writing Ink. — Any common writing ink can
be made glossy by adding to it a little gum arable or white
sugar. If the latter is used, care must be had not to use too
much sugar, else the mixture will be sticky when dry ; and if
too much of either gum or sugar is used, the ink will become
too thick to flow well.

INKS, VARNISHES, ETC. 121

■White Ruling Ink. — Chinese white, mixed with water
containing enough gum arabic to prevent the immediate
settHng of the substance, makes a good white ink for ruUng
purposes. Magnesium carbonate may be used in the same
way. Both must be reduced to impalpable powder.

Indelible Ink. — The appended formula is for a crim-
son marking ink: — Dissolve 1 oz. nitrate of silver and 1^ oz.
carb. soda in crystals, separately, in distilled water. Mix
the solutions, collect, and wash the precipitate on a filter;
introduce the washed precipitate, still moist, into a Wedg-
wood mortar, and add to it tartaric acid 2 drs. 40 grs.,
rubbing together until effervescence ceases. Dissolve car-
mine, 6 grs., in liquor ammonia (0.883), 5 oz., and add to it
the tartrate of silver, then mix in white sugar, 6 drs., and
powdered gum arabic 10 drs., and add enough distilled water
to make 6 oz. This ink is red when written with, but
becomes black.

Preserving Printers' Inks. — A thin skin soon forms
on the surface of inks only occasionally used, and, if not very
carefully removed before using, small particles are easily
distributed by the rollers in the ink, thus producing unclean
work. In order to avoid this, every time ink is being taken
from the can the surface should be made perfectly smooth
again, and the particles adhering to the tin carefully removed,
so as to diminish those parts liable to dry up. As soon as the
required quantity of ink has been taken from the can, the latter
should be covered with a sheet of parchment previously soaked
in oil and well dried on both sides. Care should be taken that
the ink is completely covered by the parchment. Then the
can should be hermetically closed and wrapped in paper. Thus
the ink can be preserved in good condition for a long time.

Photo-lithographic Inks. — The ingredients for photo-
lithographic inks are : — Printing ink, 23 parts ; wax, 50 parts;
tallow, 40 parts; colophony, 35 parts ; oil of turpentine, 210
parts ; Berlin blue, 30 parts.

122 THE PRINTERS' HANDBOOK.

Liquid for Brightening Common Qualities of
Coloured Inks. — Take white of fresh eggs, but apply very
little at a time, as they dry hard, and are likely to take away
the suction of the roller if used for any length of time.

Ink for Bronze and Metal. — A mixture of equal parts
of Canada balsam and copal varnish, or some japanners' gold
size, may be employed as an admixture for temporary gold
ink. A drop or two applied to the slab or roller will give
sufficient tenacity to the ordinary ink to enable proofs to be
pulled. For regular employment, the ink should contain some
strong or middle varnish and some dryers. The following is
highly commended by some printers : —

Middle Varnish 2 parts.

White Wax l „

Venice Turpentine l „

Patent Dryers and Burnt Umber, of each a
sufficient quantity.

Plate Transfer Ink. — A good plate transfer ink may
be made with the following ingredients : — Take 4 ounces each
of tallow, wax, soap, shellac, pitch, and lithographic ink, and
melt the materials in the order named. Burn the first
three for fifteen minutes, put out the flame, and then add the
shellac. When the shellac is dissolved, add the rest. Con-
tinue the heat for another fifteen minutes without setting on
fire. Let a piece get cold, and, if not found hard enough,
continue the heat until the necessary degree of hardness is
arrived at, which may be known by its breaking with a sharp
sound.

Cardboard Knamel. — Take one pound of parchment
cuttings, one quarter-pound of isinglass, and one quarter-
pound of gum arabic in four gallons of water ; boil in an iron
kettle until the solution is reduced to twelve quarts ; it is then
removed from the fire and strained. The solution is divided
into three parts of four quarts each ; to the first portion are
added six pounds of white lead ground fine in water, to the
second portion are added eight pounds of white lead, and to

INKS, VARNISHES, ETC. 123

the third are added six pounds of white lead. The sheets of
paper or cardboard are stretched out upon flat boards, and
brushed over with a thin coat of the first mixture with an
ordinary painter's brush ; the paper is then hung up to dry
for twenty-four hours. After this the paper is ready to receive
a coat of the second mixture, and again hung up to dry for
twenty-four hours ; the paper is again treated in the same
way with the third mixture, and dried for twenty-four hours.
After this it receives a high gloss, which is obtained by laying
the work face downward on a highly-polished steel plate, and
then passing both with great pressure between a pair of
powerful rollers.

Aniline Black for Printing on Cloth. — The fol-
lowing is recommended: — (fl) 25 parts aniline oil are mixed
cold with 20 parts nitric acid at 38" R. (6) 50 parts starch,
30 tragacanth, 35 acetic acid, and 20 potassium chlorate, are
boiled with 200 parts of water, (c) A solution of ammonium
vanadate equal to 2 per cent, of the aniline oil in (a) is mixed
with (fl) and (6). The mixture is printed, aged, and the
goods worked off in a slightly alkaline bath of potassium
chromate.

Engravers' Transfer Ink. — The compound used by
wood engravers to make a transfer from a print on to a type-
metal block consists of one ounce of caustic potash to half a
pint of alcohol, made into a solution, with which the print is
wetted for a few minutes. The type-metal block is then
brushed over with Canada balsam, the picture put on face
down, and the two run between rollers.

A Valuable Enamel for Artistic Purposes maybe
prepared from a mixture of thirty parts, by weight, of salt-
petre, ninety parts of silicic acid, and 250 parts of litharge.
Drawings can be made upon this enamel as upon paper, and
the characters can be burnt in by means of a muffle in less
than a minute. It can also be employed in the preparation
of photographs without the use of collodion. For this pur-
pose a mixture of ten parts of gum, one of honey, and three

124 THE PRINTERS' HANDBOOK.

of bichromate of potash, well filtered, is dried upon the enamel
and exposed in the camera, the image being then developed
by dusting over it a powder of ten parts, by weight, oxide of
cobalt, ninety of finely pulverized iron scales, a hundred of red
lead, and thirty of sand ; the chromate is decomposed by im-
mersion in a slightly acidulated bath. When washed and dried
the enamel is melted by placing it upon a piece of clean sheet
iron, coated with chalk, and the photograph glazed upon the
enamel is then brought to view.

To prevent Spreading of W^riting Ink on Tissue
use a fair proportion of gum arabic.

China (or India) Ink. — This is the ink universally used
throughout the Chinese empire for writing with a brush, or
painting, on one side only of the paper in general use in
China. It is rubbed down on a porcelain slab, or palette, and
used with a fine camel-hair brush for painting upon the soft,
smooth, flexible rice paper employed by Chinese artists, and
which is such a peculiarly characteristic product of those
ingenious orientals. China ink, so far as is known, was the
earliest artificial ink made, and it is still in general use in
China and Japan. It has also been used in India so long as
to have obtained the name of Indian ink. In Europe it is
employed to some extent by architects and engineers, and
also by artists, who use it for designs or sketches in black and
white, for which it possesses the advantage of affording various
depths in shading according to its greater or less dilution with
water. It is made of lampblack and size or animal glue, with
the addition of perfumes or other substances not essential to
its quality as an ink. It is prepared in the form generally of
small sticks, which are formed in wooden moulds.

Ruling Inks. — The following is a good recipe and drier : —
Sulphuric ether, one ounce ; refined spirits turpentine, one-
quarter ounce : mix and use in heavy lines, but use sparingly.

Orange Ruling Ink. — To make this, mix red and yellow
in proper proportions to the shade desired ; there is no set rule
for quantity ; add a few drops of ammonia to set the colour.

INKS, VARNISHES, ETC. 125

Sea-green Ruling Ink. — To make this add blue indigo
paste to picric acid yellow, sufficient to give the shade wanted ;
add gall when using the same as other inks.

Ink Tablets. — The demand for ink tablets or powders is
limited, though the form is extremely handy for carrying on
a journey. Two receipts for preparing ink tablets are here
given: i. Extract of logwood, 500 parts; alum, 10 parts;
gum arable, 10 parts; neutral chromate of potassium, 1 part.
Dissolve the salts in 500 parts of water, add the extract of
logwood and gum arable and concentrate the mixture to the
consistence of an extract. Then pour the mass out either into
moulds or into a flat-bottomed dish, and cut it in pieces of
suitable size, which may be enclosed in boxes or other
receptacles. 2. Extract of logwood, 1 00 parts; gum arable,
10 parts; indigo carmine, 5 parts; neutral chromate of
potassium, 1 part; glycerine, 10 parts; water, q. s. Proceed
as in the preceding formula.

Indelible Ink for Rubber Stamps, which is said not
to injure the rubber, is made of boiled linseed oil varnish 16
parts, best lampblack 6 parts, perchloride of iron 2 to 5 parts.
It should not be used for metal type.

Coloured Writing Inks. — Those which are not
fugitive — that is, which will not fade and into which it is safer
that aniline colours should not enter — can thus be prepared : —

Red. — Four oz. ground Brazil wood, and 3 pints vinegar,
boiled till reduced to 1^ pint, and 3 oz. powdered rock alum
added.

Purple. — To a decoction of 1 2 parts Campeachy wood in
120 parts water, add 1 part subacetate of copper, 14 parts
alum, and 4 parts gum arable ; let stand 4 or 5 days.

Violet. — Boil 8 oz. logwood in 3 pints water, till reduced to
1^ pint; strain and add l| oz. gum, and 2| oz. alum.

Blue. — Two oz. Chinese blue, 1 quart boiling water, 1 oz.
oxalic acid ; dissolve the blue in the water, and add the acid ;
it is ready for use at once.

Green. — Two oz. verdigris, 1 oz. cream of tartar, | pint
water ; boil till reduced one-half, and filter.

126 THE PRINTERS' HANDBOOK.

Black Writing Ink. — Take six ounces of the best gall
nuts, and pound them in a mortar or otherwise ; take four
ounces of logwood, and let it be cut or ground into very small
pieces ; these, mixed with four quarts of rain or river water,
must be boiled together until half diminished. Then take two
ounces of copperas made into a powder, and three ounces of
gum arabic ; let these be also mixed and strained through a
linen cloth. After this mixture has stood a few hours it may
be written with. The ink thus prepared is very fine, and makes
the writing appear beautiful and shining. Another old-time
recipe is the following : — Take three quarts of rain water and
sixteen ounces of pounded gall nuts ; boil these on a slow fire
until the liquor has diminished two-thirds, then throw it into
two ounces of gum arabic, which has been already dissolved
in half a pint of vinegar, then add six ounces of powdered
copperas ; let this mixture boil for two hours longer, and then
it may be bottled for use.

Ink Slabs for Colour Work. — It has been suggested
that all ink-tables on machines used for colour work should be
nickel-plated. Iron "kills" bright colours, and renders tints
dull and lifeless. The cost of the nickeling is trifling, and once
done lasts a lifetime. Porcelain, litho, stone, marble, slate, and
glass are all good surfaces to use for colour slabs.

Substitute for Gold Size. — Few printers there are who
have not had trouble with the gold size regularly furnished by
ink-makers. Not only has it an invariable tendency to dry on
the rollers and on the forme, but it too frequently dries on the
sheets before the bronze can be dusted on. The result is an
effect that suggests the employment of the very poorest grade
of bronze, even where the finest of gold is used. Again, the
regular stock size is more than likely to fill up the finer lines
of engravings and shaded letters wherever employed, giving
a dirty, muddy effect, as though too much ink had been used.
A moment's reflection will show how inevitable this result
must be where such an extra glutinous and quick-drying
pigment is constantly thickening and hardening on the
delicate hair-lines of a job, necessitating frequent stops and

INKS, VARNISHES, ETC. 127

washings. This is a serious drawback to fine work, but it can
be easil}' remedied by the employment of a substitute which
does away with the above objections. It is made as follows:
Take three parts of lemon yellow ink and one part of No. 2
varnish, and mix them well ; add about one-twentieth of the
above quantity of copal flock varnish, and mix perfectly. The
peculiar quality of this size is that it can be run all day with-
out washing it — an impossibility with the other ; it never
thickens the hair-lines of a job, works freely on and off the
rollers, and allows sheets to lie longer without bronzing than
any other method. The bronze shows less liability to smut or
spread, and altogether cleaner and brighter work is produced,
showing fully covered lines, instead of parts that seem only
half bronzed. This size being slow to set, gives the bronzer
a better chance to cover his job, but for this very reason holds
more firmly and permanently every grain that is spread upon it.

As an Ink Extractor, freshly made, use saturated
solution of chloride of lime, one ounce ; acetic acid, one ounce ;
and as an extractor for black ink use a weak solution of oxalic
acid.

Can for Printers' Ink. — The following is a description
of an improved one of American origin. The head of the can
is made integral with the body, an egress for the ink being
provided by a nipple, which is situated in the centre of the
can head, and may be closed by a screw-cap. A movable
bottom — described in the specification as a " convavo-convex
follower " — is adapted to slide longitudinally within the body
of the can, and is surrounded by annular packing which pre-
vents leakage without restricting motion. If the screw-cap be
removed and the bottom of the can pressed in, the ink will be
forced from the nipple in the same manner that paints are
exuded from the collapsible tubes which contain them. This
can possesses the two principal virtues of collapsible tubes :
the manner of ejecting its contents, and the protection it
affords its contents against dust. It differs from collapsible
tubes in that, owing to its rigidity, it preserves its form, and
may be refilled when empty.

128 THE PRINTERS' HANDBOOK.

Preserving Ink, Gum, or Paste. — It is said that a
quarter per cent, of formic acid added to ink, gum, paste, and
such other articles, will keep them as fresh as possible.

A Hint for Gold Printing. — To prevent gold-leaf or
bronze adhering to the surface beyond the outline of the sizing,
pounce the whole of the surface after sizing with whiting, or
lay on with a soft brush whiting mixed with water, brushing
off the superfluous powder when the water has evaporated.
The varnish or gold size may be distinctly seen over this
whitish ground as the gilding progresses.

Letterpress and Lithographic Inks. — There is a
great difference between lithographers'and letterpress printers'
inks, whether black or in colours. Printers can use litho-
graphers' inks, and would do well to make use of them, but
lithographers should never attempt to use printers' inks.
Lithographers' inks, manufactured by reliable houses, are
certainly the best for such purposes, for the reason that these
inks have to be ground and mixed with suitable varnishes in
order to obtain a solid and sharp printing, and a knowledge of
this is necessary to manufacture a suitable ink, while, in the
case of printers' inks, manufacturers are not so careful, and
are satisfied if the printer is able to obtain a smooth impression.
To do the exact thing it is necessary to know just what
materials we are working with, and particularly in the case of
inks we must know the ingredients, so that we can tell what
chemical actions will result, and also how they will work upon
the stone in the lithographic process, and with the paper used
for printing upon.

Facilitating Bronze Printing. — Calcined magnesia
rubbed on a job will allow of bronze being printed over a
colour without adhering to it, but the colour should be as dry
as possible before applying the magnesia.

The Sticking of Poster Sheets. — Poster ink, coloured
or black, has a tendency to make sheets stick together as
though they had been glued. Mix a small quantity of soft
soap amongst it — this will generally put matters right.

INKS, VARNISHES, ETC. 129

Thinning Ink. — A printer of large practical experience
says that he thins his ink with spirits of turpentine, and works
it with dammar varnish previously thinned with raw (not boiled)
linseed oil. The use of turpentine sets off, in the drying
properties of the ink, the use of raw linseed. He has had, he
says, most trouble with the red and green inks, both of which
have been treated successfully in the manner described.

Stiff Ink. — If ink should pull the face of paper, owing to
frost or to the paper itself having a soft, spongy, or enamelled
face, put a drop or two of oak varnish on the slab, and run up.
If very frosty weather, it may be found necessary to heat the
slab. Some firms keep a small gas jet arranged under each
slab for these emergencies.

Hint in using Copying Printing Ink. — Printers who
use this should have a small bottle of glycerine on hand. If
the ink does not take apply the glycerine on the ink-plate with
the tip of the finger until the trouble is removed. It is
absolutely necessary in using copying ink to have rollers and
ink-disk perfectly clean and free from all other inks.

Reflection of Coloured Inks. — Mix a little of the
white of a fresh egg with coloured inks at the time of use.
This increases their reflection, and, at the same time, gives a
siccative.

The Care of Printing Inks. — Messrs. Fleming and Co.,
printing ink makers, say : — The great difficulty that printers
have to contend with is getting an ink which will print a dense
enough colour, and yet will dry sufficiently quick, so as not
to soil the hand shortly after it leaves the press. Inks which
have coal-tar colours for their basis are, as a rule, affected by
water and varnish (being soluble and the colours running) ;
whilst light and exposure to weather have a most destructive
effect. Vermilion inks, when printed from lead or iron types,
cause sulphur combinations, which change the colour of the
ink. It is needful, when used in machines with brass cylinders,
to cover same with a coating of copal or dammar varnish.
Caution is needful in using tint inks upon tinted paper to

130 THE PRINTERS' HANDBOOK.

prevent inharmonious combinations. By covering the top of
ink in can, when opened, with oiled paper, or paper dipped in
glycerine, skinning is prevented. For ultramarine inks, use
oiled paper only, as glycerine affects this colour. In any
special contracts it is advisable to send to the ink manu-
facturer a sample of paper used, and, where practicable, a
small sample of the ink in ordinary use. As the quality of
paper has much to do with success or non-success of an ink,
the following observations will be of interest: — 1st. Notice
whether white or brownish ; a brown tint in paper makes ink
look brown. 2nd. If porous or glazed. If you press your
tongue against it when porous, it will immediately get soft
from absorbing the moisture, and become semi-transparent.
Porous paper is, of course, less transparent, and with a strong
ink is more apt to be torn ; it requires, therefore, thinner ink ;
is generally printed upon in a damp state, less ink being
required,

A Simple and Effective Lye. — Table salt, 2 oz. ; un-
slacked lime, 2 lbs. ; washing soda, bruised, 2 lbs. ; put to-
gether in 3 gallons of soft water, stirred well. When settled
ready for use, pour the liquor off, and throw the sediment of
the lime away.

A Peculiar Ink Plant. — There is in New Granada a
plant, Coryaria thymifolia, w^hich might be dangerous to our
ink manufacturers if it could be acclimatized in Europe. It is
known under the name of the ink-plant. Its juice, called
chanchi, can be used in writing without any previous prepara-
tion. The letters traced with it are of a reddish colour at
first, but turn a deep black in a few hours. This juice also
spoils steel pens less than common ink. The qualities of the
plant seem to have been discovered under the Spanish ad-
ministration. Some writings intended for the mother country
were wet through with sea-water on the voyage ; while the
papers written with common ink were almost illegible, those
with the juice of the ink-plant were quite unscathed. Orders
were given in consequence that this vegetable ink was to be
used for all public documents.

INKS, VARNISHES, ETC. 131

Type-writing Inks. — Some of these are fugitive : that is,
they will not stand exposure to the strong sunlight. Purple,
red, and green, if exposed for a great length of time, will fade.
Red will fade out completely, and for that reason very few red
ribbons are made. Purple being a colour very much liked it
became a question with manufacturers how to render it per-
manent, and this has been done by simply adding carbon,
which is indestructible, to the purple ink, making what is
known as " black-copying purple." This ribbon prints black,
but, of course, in making a letterpress copy the copy is purple.
The original takes a purplish tinge. The copy, if exposed, is
liable to fade, but it is as permanent as the greater number of
the ordinary fluids. The original is permanent, being rendered
so by the carbon. There is an indelible ribbon, writing a deep
blue-black and making a strong blue copy. This is perhaps
the best for all purposes, as both the copy and the original
are absolutely permanent. Ordinary printing ink may be
used if a black is required.

Another Ink for Type-writer Ribbons. — To make
this, take vaseline of high boiling point, melt it in a water bath
or slow fire, and incorporate by constant stirring as much
lampblack as it will take up without becoming granular.
Remove the mixture from the fire, and while it is cooling mix
equal parts of petroleum, benzine, and rectified oil of turpentine,
in which dissolve the fatty ink introduced in small portions by
constant agitation.

New Printing Varnish. — The composition is: two
parts of painters' terebene ; one part of linseed oil, and one
part of Canada balsam turpentine. The painters' terebene
maybe manufactured by boiling half a pint of linseed oil and
two drachms oxide of lead together for an hour, with incessant
stirring, afterwards adding a few drops of acetic acid. To
impart the glaze, instead of the Canada balsam, there may
be used two pounds of pale, hard copal, one pint of linseed
oil, and three pints of turpentine, dissolved together. By the
use of the above, the inventors claim the inks to be rendered
impervious to sun, rain, and bill-posters' paste for a consider-
able time, as well as increased brilliancy.

132 THE PRINTERS' HANDBOOK.

Powdered Red in Lithography. — The ink is com-
posed of strong- varnish, medium varnish, and Bahimore
yellow, well ground. The following proportions may be taken
as the basis : — Strong and medium varnish, and an equal
quantity of Baltimore yellow. Well mix the varnishes, add
the yellow, and grind the whole thoroughly. Pressure being
sufficiently heavy, the yellow should appear very distinct. Its
shade is by no means harmful to the red. On the contrary,
the yellow strengthens the red. When the red powder tints
the white parts of the paper, a small liqueur glass of linseed
oil should be used to a plate of powder. Mix with a piece of
card until the colour has entirely absorbed the fatty body.
The addition of this quantity of oil, rendering the powder
fatty, prevents its soiling the paper.

Violet Copying Ink. — The following formula is for the
preparation of a violet copying ink : — 40 grams extract of log-
wood, 5 grams oxalic acid, and 30 grams alum are dissolved
in 800 grams rain water and lo grams glycerine, and the
whole allowed to stand for twenty-four hours. The ink is then
brought to the boiling point in a copper vessel and 50 grams
wood vinegar are added, and, after standing for a while, the
ink is filled into bottles.

Hints about Printers' Inks. — For all commercial
work, printed on writing-paper, use ink with good body — a
short, thick ink covers better on writing-paper. For circulars
or other work printed on super-sized and calendered book the
same ink will of course answer, but a cheaper quality will do
as well. For jobs on print paper the thinnest ink is best.
Short ink and hard rollers, thin ink and soft rollers, go best
together. Where there are solid surfaces to cover, thick ink
is best, because it covers better. For the same reason short
ink is cheaper than the tacky article. Never try to print cuts
or fine work on good paper with a poor quality of ink. It does
not pay. Use the thick-bodied, short ink for such work,
especially on a platen press. Wash up at least once a day,
even on long runs. The ink will become clogged with dust,
and good work is then impossible. Always use the best of

INKS, VARNISHES, ETC. 133

coloured inks, except for poster work. They are cheaper in
the end. In opening a can of coloured ink of which little is
required, do not pull the skin off the top ; break it at the side,
take out what is wanted, and immediately replace the skin.
If you take the skin all off it will form again, and the ink will be
wasted. Keep all ink-cans well covered. Dust will ruin
any ink.

Imitation India Ink. — A colour apparently identical
Avith India ink can be produced by the action of sulphuric
acid on camphor. An excess of camphor should remain some
twenty-four hours in strong sulphuric acid ; it then results in
a gelatinous mass of a slightly reddish colour. This, when
heated, effervesces, gives off fumes of sulphurous acid and
turns intensely black. By evaporation the superfluous sul-
phuric acid and camphor (for there remains an excess of both,
the weakened acid not acting on the camphor) can be driven
off. The remainder, when applied to paper as a paint, appears
to be India ink. When dissolved in water it remains an
indefinite time without precipitating. It appears to be dis-
solved, not held in suspension.

To make Gold Bronze. — Melt two parts of pure tin in
a crucible and add to it, under constant stirring, one part of
metallic mercury, previously heated in an iron spoon, until it
begins to emit fumes. When cold, the alloy is rubbed to
powder, mixed with part each of chloride of ammonium and
sublimed sulphur, and the whole enclosed in a flask or retort
which is embedded in a sand bath. Heat is now applied until
the sand has become red-hot, and this is maintained until it
is certain that vapours are no longer evolved. The vessel is
then removed from the hot sand and allowed to cool. The
lower part of the vessel contains the gold bronze as a shining
gold-coloured mass. In the upper part of the flask or retort,
chloride of ammonium and cinnabar will be found.

Recipe for Silver Ink. — This is white gum arable, one
part ; distilled water, four parts ; silicate of soda in solution,
one part. Triturate with the best silver bronze powder enough
to give the required brilliancy.

134 THE PRINTERS' HANDBOOK.

Red Marking Ink. — A German formula which is said to
be unaffected by either soap, alkalies, or acids, is the following :
Enough finely pulverized cinnabar to form a moderately thick
liquid is very jntimately mixed with egg albumen, previously
diluted with an equal bulk of water, beaten to a froth and fil-
tered through fine linen. Marks formed on woven tissues with
this liquid, by means of a quill, are fixed after they have
become dry, by pressing the cloth on the reverse side with a
hot iron. The ink will keep in well-closed bottles for a long
time, without separation of the suspended cinnabar.

Recipe for Blue-Black Writing Ink. — The following
dependable recipe is published in response to a request made
by several inquirers. To l lb. of bruised galls add a gallon of
boiling water; 5j- oz. copperas in solution; 3 oz. gum arabic
in solution ; and a few drops of carbolic acid. Finally add a
strong solution of fine Prussian blue, in sufficient quantity to
turn the ink a blue-black when written with. This ink after-
wards turns a jet black, and cannot be erased either by acids
or alkalies without the destruction of the paper.

Another Black Marking Ink. — A good serviceable
marking ink for use on linen without preparation is made as
follows : Dissolve separately one ounce of nitrate of silver and
one and a half ounce of best washing soda in distilled or rain
water. Mix the solutions and collect and wash the precipitate
in a filter; whilst still moist rub it up in a marble or Wedg-
wood mortar with three drachms of tartaric acid ; add two
ounces of distilled water, mix six drachms of white sugar, ten
drachms of powdered gum arabic, half an ounce of archil, and
water to make up six ounces in measure.

White Varnish for Paper.— The following is the same
as that used for foreign wood toys, and is composed of tender
copal, one and a half ounce ; camphor, 1 ounce ; alcohol of
95 per cent., 1 quart, to which, when dissolved, is added
mastic, 2 ounces ; Venice turpentine, 1 ounce. The whole is
then dissolved and strained. This varnish is extremely hard.

INKS, VARNISHES, ETC. 135

Clear Shellac Varnish. — To get an absolutely clear
solution of shellac has long been a desideratum, not only with
microscopists, but with all others who have occasional need
of the medium for cements, etc. It may be prepared by first
making an alcoholic solution of shellac in the usual way ; a
little benzole is then added and the mixture well shaken. In
the course of from twenty-four to forty-eight hours the fluid
will have separated into two distinct layers, an upper alcoholic
stratum, perfectly clear, and of a dark red colour, while under
it is a turbid mixture containing the impurities. The clear
solution may be drawn off.

The Varnishing of Paper. — To make size for wall-
paper, break some glue up small, put it into a pail and cover the
glue with water, and allow it to soak for ten or twelve hours ;
then add more water and boil until dissolved. Strain it
through a muslin cloth, and try the size on a piece of paper.
If it glistens, it is too thick ; then add water. If it soaks
into the paper it is too thin. Be careful, especially in the
first coat, to bear very lightly upon the brush, and have
plenty of size to flow freely from it, otherwise you may
damage the paper. Give two coats of this, and when dry
varnish with pale varnish, which should be applied very
briskly, and leave off" at the flow.

WAREHOUSE WORK AND
STATIONERY.

TO Make Paper Tough. — A plan for rendering paper
as tough as wood or leather has been recently introduced.
It consists in mixing chloride of zinc with the pulp in the
course of manufacture. It has been found that the greater
the degree of concentration of the zinc solution, the greater
will be the toughness of the paper. It can be used for making
boxes, combs, for roofing, and even for making boots.

On Judging Paper. — When writings are yellow wove,
azure laid, or blue, they are frequently darker on one side
than on the other. When the paper is darker in colour on the
right side it is hand-made ; when darker on the wrong side it
is machine-made. This method of distinguishing cannot be
taken as conclusive without corroboration from other sources,
for means are now taken on the machines in some mills to
counteract the subsidence of the blue pigment. It may
happen that this rule fails, owing to a high finish having been
imparted to the right side of a machine paper, by which it
would become darker on that side. An unsought watermark
is impressed by the wire cloth on all papers made by
machine. It is indelible. No after-process of surfacing can
obliterate it. It is always present in laid machine-papers,
but is never found in laid hand-mades. The mark, which is
a facsimile of the wire cloth, owes its existence principally to
the suction of the exhaust boxes ; and according to the in-
tensity of their action on the fibre, so does the texture-like
impression in the finished sheet vary. Hence it is more dis-
tinct in some papers than others. With a very fine wire.

WAREHOUSE WORK AND STATIONERY. 137

light action in the exhaust boxes, and a good finish after-
wards, these wire marks get so faint that they are only dis-
cernible on looking through the sheet at a strong light. Two
marks, laid and wove, in the same sheet, are an infallible indi-
cation of the sample being made by machine.

Enamelling Cardboard and Pasteboard. — Dis-
solve ten parts of shellac in a sufficient quantity of alcohol, and
add ten parts of linseed oil. To each quart of the mixture add
also about one-fourth of an ounce of chloride of zinc. The
board may be immersed in it or the solution applied with a
brush. The board is thoroughly dried and the surface is
polished with sand-paper or pumice before applying this pre-
paration.

Paper Pulp from Cotton Stalks. — A writer in the
"Scientific American" says that several samples made from
the hulls and stalks of the cotton plant have lately been on
view at Atlanta, Georgia. The pulp is as white as snow, and
it is said that it can be converted into the finest writing paper.
The ligneous substances of the hulls and stalks are removed
by a new process. Fifty per cent, of the fibres are extracted
from the hull, which has hitherto been used either for fuel in
the mills or for fertilizing purposes, and 38 per cent, is obtained
from the stalks, which have generally been allowed to rot in
the fields. If the process proves successful, the value of these
comparatively useless products will be increased tenfold.

Gummed Paper. — The tendency of paper when
gummed (in the case of postage stamps, labels, etc.), to curl
up is very tiresome, and much waste is often caused through
tearing. It is said that this evil may be avoided by adding a
little salt, sugar, and glycerine to the gum — very little of the
latter, however, because otherwise the gum does not dry
thoroughly. The gummed paper, also, must not be dried in
too great a heat. Another peculiarity of gummed paper is its
greater liability to curl up the thicker it is. The thinnest
paper possible under various circumstances should therefore
be used.

138 THE PRINTERS' HANDBOOK.

Waterproof Luminous Paper, which will shine in
the dark, is made as follows : — 40 parts paper stock (pulp),
10 parts phosphorescent powder, 10 parts water, 1 part gela-
tine, and 1 part bichromate of potash.

To Take Creases out of drawing paper or engravings,
lay the paper or engraving face downward, on a sheet of
smooth, unsized, white paper ; cover it with another sheet of
the same, very slightly damped, and iron with a moderately
warm flat-iron.

Bronzing Paper. — Dissolve gumlac in four parts by
volume of pure alcohol, and then add bronze, or any other
metal powder, in the proportion of one part to three parts of
the solution. The surface to be covered must be very smooth
and carefully polished. The mixture is painted on, and when
a sufficient number of coats have been given, the object is
well rubbed. Another method is to coat the object with
copal or other varnish, and when this has dried so far as to
become " tacky," dust bronze powder over it. After a few
hours the bronzed surface should be burnished with a bur-
nisher of steel or agate.

To Remove Grease Spots from Paper. — The fol-
lowing is a recipe for removing grease spots from paper : —
Scrape finely some pipe clay on the sheet of paper which is
to be cleaned. Let it completely cover it, then lay a thin
piece of paper over it, and pass a heated iron on it for a few
seconds. Then take a perfectly clean piece of india-rubber
and rub off the pipe clay. In most cases one application will
be found sufficient, but if it is not, repeat it.

Insensible Paper. — A new process of rendering paper
insensible to the action of water and atmospheric changes
has been patented in France. A sheet of paper is covered on
the wrong side with a thin layer of gutta percha, which is
afterwards spread with paper, linen, thin pasteboard, or

WAREHOUSE WORK AND STATIONERY. 139

similar matter. The whole is heated and pressed. Under
the influence of heat the gutta percha becomes softened and
unites firmly the two surfaces between which it has been
placed. This prepared paper is of great value in art work.

Papier-mache Goods. — Papier-mache is pulp paper
moulded into form, and if required waterproof, sulphate of
iron, quicklime, and glue (or white of egg) are added to the
pulp, and if incombustible, borax and phosphate of soda are
added. Tea trays and other light goods are made by pasting
or gluing sheets of paper together, and then submitting to
powerful pressure. The articles are afterwards japanned, and
are then perfectly waterproof The refuse of cotton and flax
mills may be used instead of paper pulp.

Transparent Paper. — The following methods for ren-
dering paper transparent are given. Using castor oil answers
as well as any other method, the best recipe being : — Of castor
oil five parts and of ether one part ; place the paper upon a
sheet of glass, and spread the solution thickly over it ; well
warm it till the oil has thoroughly soaked into the paper ;
when cool remove the superfluous oil and again warm.
Another method adopted is by using Thomas' india-rubber
solution, two parts, dissolved with two parts Canada balsam in
three parts pure benzole, and rubbing well in with a piece of
cotton wool till thoroughly soaked and dry. Passing through
melted paraffin wax is also an excellent method. This must
be effected at such a temperature as to enable it to thoroughly
penetrate the paper. Better not to iron, as so often recom-
mended, but simply to warm, and with a piece of soft cloth
take off the superfluous wax. A process by no means easy,
but which we have ourselves carried out with great success,
is the following : — Gum dammar twenty parts, and gum elemi
five parts, dissolved in a hundred parts of benzole. Pour into
a flat dish, place the paper in one sheet after another, and
allow it to remain for about five minutes ; then remove and
hang up to dry. Benzole must be constantly added to the
solution in consequence of its speedy evaporation.

140 THE PRINTERS' HANDBOOK.

Cloth Finished Paper. — A cloth finish is given to paper
by applying to, or laying upon, opposite surfaces of paper,
pieces of cloth, subsequently subjecting the cloth and paper
to pressure between smooth rollers or other smooth surfaces,
and in finally removing the cloth from the paper. The paper
or the cloth may, if desirable, be moistened to facilitate the
impress of the surface of the cloth into the paper ; but this
will not be necessary. The impress of the surface of the
cloth into the paper may be done, in the manner described,
either before or after calendering the paper, or even during
the process of calendering. A name or designating mark or
ornament may be produced in the paper by delineating it
upon the cloth by stitching, or in any other manner which
will give it the necessary projection.

Baskets of Paper.- — Almost any shaped baskets and
workcases can be made of plaited paper. White, brown, or
newspaper may be utilized for this purpose. To make a
white basket, cut into narrow strips, three-quarters of an
inch wide, thin cartridge paper ; double each strip length-
wise into two and plait it. When you have plaited a sufficient
quantity stitch the pieces together into the shape you wish
the basket to be, using a small basin, jar, or even another
basket to assist in shaping the work. When the basket is
stitched into shape, and the handles put on, give it two coats
of hot gelatine and water, and when thoroughly dry, varnish.
Baskets of newspaper and brown paper must be painted with
oil colour and afterwards varnished.

Blacking Skins. — The " skins" used to wrap up paste
blacking consist simply of manilla tissue, or strong small hand
similar to that used for paper bags, well saturated in oil (after
printing) and hung up to dry.

Ornamentation on Paper. — A new method of pro-
ducing designs and patterns in colours upon the surface of
paper consists in the use of one or more rollers or cylinders
of elastic material, such as vulcanized india-rubber, filled
with compressed air. The diameter of these rollers or cylin-

WAREHOUSE WORK AND STATIONERY. 141

ders is determined by the pressure of the air. These rollers
or cylinders are closed at the ends, and supported bv an axle
in a frame. Any suitable design or pattern is produced upon
the surface of these rollers or cylinders. This may either be
done by cutting the design or pattern out of the surface, or
by cutting the ground out of it ; or it may be produced by a
mould. The rollers revolve by contact with the advancing
paper, and projecting portions of its engraved surface take up
more or less of the colour and the designs or patterns in the
moist colour on the paper. It is said that these cylinders will
produce designs or patterns with very soft shading, which
have not been produced hitherto by any mechanical contri-
vance.

Safety Envelopes. — In making these envelopes, that
part of the envelope covered by the flap is treated with a
solution of chromic acid, ammonia, sulphuric acid, sulphate
of copper, on fine white paper. The flap itself is coated
with a solution of isinglass in acetic acid, and when this is
moistened and pressed down on the under part of the enve-
lope a solid cement is formed, entirely insoluble in acids,
alkalies, hot or cold water, steam, etc.

Preparing Paper for Copying Purposes. — A new
method or process for treating paper so as to render it per-
manently moist for copying purposes has been devised. In pre.
paring the paper one pound of the salt known as the "chloride
of magnesium" is dissolved in a moderate quantity of cold or
warm water, and it is ready for use. From half a pound to a
pound of water to the pound of chloride of magnesium is said
to be the most desirable amount, but more or less can be used
according to circumstances. The chloride of magnesium may
be dissolved in other liquids, but water is said to be equally
good. Apply this solution to the sheets of ordinary copying-
paper, whether in book form or otherwise, in any usual and
well-known manner, and preferably by applying the com-
pound to cloth pads well saturated with the liquids, and then
place the pads between any suitable number of leaves ; then
apply a pressure, at first very moderate, until the absorption

142 THE PRINTERS' HANDBOOK.

of the paper is complete ; then remove the cloth paper and
apply under the press a strong pressure, and the books or
sheets of paper so treated are ready for copying purposes,
the use of the solution of chloride of magnesium being the
radical or base of this invention. In all cases use copying
inks or fluids, which are preferable. Paper prepared by this
method will remain permanently moist at any ordinary tem-
perature, and if made dry by any extraordinarj' heat will
regain its moisture upon being subjected to the common
temperature.

Blasting Paper, as made by an Austrian firm, consists
of unsized paper coated with a hot mixture of 1 7 parts of
yellow prussiate or potash, 1 7 of charcoal, 35 refined salt-
petre, 70 of potassium chlorate, lO of wheat starch, and
1,500 of water. After drying it is cut into strips and rolled
into cartridges.

Set-off Paper. — A capital one may be made by lightly
rubbing with glycerine. This is preferable both to oil and
paraffin wax.

Artificial Parchment. — A strong artificial parchment,
impermeable by water, and capable of serving for the
diaphragm in osmotic operations on solutions of impure
sugar, etc., is made as follows : — The woollen or cotton tissues
are freed by washing from the foreign substances, such as
gum, starch, etc., which may cover them. They are then
placed in a bath slightly charged with paper pulp; and to
make this pulp penetrate more deeply, they are passed be-
tween two rollers, which slightly compress them. The prin-
cipal operation consists in steeping the product for a few
seconds in a bath of concentrated sulphuric acid, after which
it undergoes a series of washings in water and ammoniacal
liquor, until it has lost all trace of acid or base. It is then
compressed between two steel rollers, dried between two
others, covered with felt, and finally calendered, when it is fit
for use.

WAREHOUSE WORK AND STATIONERY. 143

Mill-Boards, or properly "milled" boards, are strong
flexible boards made chiefly of old rope. They are so called
because they are squeezed or rolled in the process of manu-
facture. The best sorts are made from the same material as
brown paper — old tarred rope ; besides this, old coal sacks
are used, with admixtures of various fibres. Mill-boards are
made in the same way as hand-made paper, that is, in a
mould, to insure firmness and solidity. To give them the
necessary smoothness, they are finished by being rolled or
milled by powerful iron and steel rolls.

Paper Bottles, capable of fully withstanding the effect
of alcoholic fluids, and unbreakable, are manufactured from
10 parts rags, 50 parts wood, and 40 parts straw stocks.
Both sides of the sheets are covered with a mixture of
defibrinated blood and powdered lime. Ten thicknesses of this
material are placed one on another, and are then pressed in
hot metal moulds until they assume the form of half a bottle,
The two halves are then united under the influence of heat
and pressure into a perfect bottle, i.e., they are to a certain
extent welded together.

Hanging Paper for Damp Walls. — This method
consists of coating a lining paper on one side with a solution
of shellac spirit, of somewhat greater consistency than the
ordinary " French polish," and then hanging it with the side
thus treated to the damp wall. The paper-hanging is then
performed in the usual manner with paste. Any other resin
that is equally soluble in spirits may be used in place of the
shellac. According to representations, this process is found
equally effective in preventing the penetration of dampness.

To Soften Hard Paper. — It is a well-known fact that
hard paper will become smooth and take the ink readily when
a little glycerine is added to the water used for wetting pur-
poses. But it may be less known that the ink will also dry
very quickly on paper wetted with glycerine water. Posters
with large and full-faced types will be dry in a quarter of an
hour, whilst the drying process, when the printing has been
done on paper simply water wetted, will require hours.

144 THE PRINTERS' HANDBOOK.

" Retree." — The origin of the word " retree " cannot be
traced farther back than the reign of the Great Napoleon,
prior to the Peninsular war. He desired that the soldiers in
every regiment should be of uniform height, and also of
uniform physical formation, so that each man should appear
equal to his fellow in the proportions of manhood. The words
trier de soldats were thus first used, which meant "• Pick of
the soldiers." A subordinate officer first arranged those in
line who, according to his judgment, were of equal height
and physical proportions. Ts'ext, the colonel of the regiment
inspected and further picked out those unsuitable for the
crack regiments. Then Napoleon himself would pass down
the lines, and further weed out those he considered not quite
up to the mark. The weeded men were called retrie, but the
French pronunciation allows of the Anglicized retree, as we
now spell the word; the absolute meaning being "thrice
picked." The English word retree is now well known and
acknowledged in the trade. Fine papers are turned over
sheet by sheet, and the finest qualities are divided into three
parcels, only clean perfect sheets being passed for good paper.
Those sheets which contain spots, or are otherwise imper-
fectly made, are separated from the well-authenticated sheets,
and the broken make is called retree.

Papier-mache Covering for Floors. — A new and

desirable process is described as follows: — The fioor is tho-
roughly cleaned. The holes and cracks are then filled with
paper putty, made by soaking newspapers in a paste made of
wheat flour, water, and ground alum, as follows : — To one
pound of flour add three quarts of water and a tablespoonful
of ground alum, and mix thoroughly. The floor is then coated
with this paste, and then a thickness of manilla or hardware
paper is put on. If two layers are desired, a second covering
of manilla is put on. This is allowed to dry thoroughly.
The manilla paper is then covered with paste, and a layer of
wall paper of any style or design desired is put on. After
allowing this to thoroughly dry, it is covered with two or
more coats of sizing, made by dissolving one-half pound of
white glue in two quarts of hot water. After this is allowed

WAREHOUSE WORK AND STATIONERY 145

to dry the surface is given one coat of " hard oil finish
varnish." The process is represented to be durable and
cheap, and, besides taking the place of matting, carpet, oil-
cloth, or like covering, makes the floor air-tight, and can be
washed or scrubbed.

Antiseptic Paper is prepared by melting five parts of
stearine, in which two parts of carbolic acid are well stirred.
Five parts of paraffin are then added to the mixture. The
whole is stirred as it cools, and put on the paper with a brush.

To Make Postal Tubes. — The tubes now so largely
used are made by rolling a sheet of the paper selected — car-
tridge or stout rope-brown — on a cylinder of wood of the
required length and diameter of inside required. If you want
a tube two feet long cut the paper to that width, and about a
yard in length ; paste the sheet evenly all over, and then pro-
ceed to roll tightly on the wooden cylinder. In about an hour
the tube will be dry, and the cylinder may be pushed out.

Paper ^/^indows. — One of the most remarkable uses
to which paper has of late years been put is the manufacture
of xylonite — a substance which at the will of the manufacturer
may be made in imitation of horn, rubber, tortoiseshell,
amber, and even glass. The uses are almost infinite to
which xylonite is adaptable, but the most extraordinary,
perhaps, is the manufacture of cathedral windows ! The
discovery was made several years ago by an Englishman
named Spills, but it was not till some years after that a com-
pany was formed in London for its manufacture. The basis
of xylonite is plain white tissue paper, madp from cotton or
cotton and linen rags. Being first treated with a bath of
sulphuric and other acids, the paper undergoes a chemical
change. The acid is then carefully washed out, and the paper
treated with a preparation of alcohol and camphor. After
this it assumes an appearance very much like parchment.
It is then capable of being worked up into plates of any thick-
ness, rendered almost perfectly transparent, or given any of
the brilliant colours that silk will take.

146

THE PRINTERS' HANDBOOK.

Sizes of Envelopes.

In Half.

In Three.

Queen ...

3i X 3 •■•

Albert ...

4i X 3t •••

Post ...

4i X 3i ...

•■ 4i X 2l

Large Post

5i X 4i ...

• • 5i X 3

Demy ...

5 X 3i- •••

• • S X 2I

Medium

Si X 4x •••

• • 5h X 3

Number of Cards contained in a Royal Board.

Thirds 96 Double Small ... 25

Broad Thirds ... 80 Double Large ... 16

Small 50 Quad Small 12

Large 32 Quad Large 8

Sizes of Tea and Tobacco Papers.

Tea : 1 lb. Foolscap.

„ i lb. Crown folio, or 14 x 1 1 in.

„ ^ lb. Demy 4to.

,, 2 oz. Demy 6to, or Crown 4to.

„ 1 oz. Demy gmo.

Tobacco : ^ lb. Crown 4to.
„ 2 oz. Crown 6to.
„ 1 oz. Crown gmo.
^ oz. Crown 1 2mo.

Number of Pages in a given Number of Quires.

1 Quire

eqi

lal

96 pages.

Quires

equal

672 pages

2 „

192

768 „

288

864 „

4 J'

384

960 „

S »

480

1 1

1056 „

6 „

576

1152 „

Parchment. — Five dozen skins = 60 is called a Roll.

WAREHOUSE WORK AND STATIONERY. 147

Equivalent Sizes of Writing and Printing Papers
and Cartridges, shown at a glance.

Description,

Writings.

Printings.

Cartridges.

Emperor ,..

Antiquarian

Double Imperial ....

Double Elephant

Atlas

Colombier

Imperial

Elephant

Super Royal

Cartridge or Log

Royal

Medium

Demy

Music Demy

Large Post

Copy

Post

Foolscap

Pott

Sheet and Half Pott .
Sheet and Third Cap
Sheet and Half Cap .
Sheet and Half Post.

Double Foolscap

Double Crown

Double Post

Double Demy

72 X48
53 31

40 X 26f

33 X26
34| X 231

34 X22

28 X 23
27 X 19

24 X 19

22 XI7I

20 X 15I

xi6i
X 16
X i5i
X i3i

X 12|
22|x 12|^

22" X 13I
24|x 13^

21
20
19
17
15

26^ X 16J

30 X 22
30 X23
271X201

25 X20

24 X 19

22^X I7I
2o|x I4I

19tX 15I
17 xi3^

23txi9i
27 X 17

30 X20

3i|x 19I

35" X22|

44 X30
40 X 26

30 X22

28 X 23
27|x 19I

26 X2l'

25 X 20

22 XI7I

20 X l6i

30 X 20

35^X22|

148

THE PRINTERS' HANDBOOK.

Relative Weights of a Ream containing 480, 500,
or 516 Sheets.

Ream

Ream of

Ream

Ream of

of 480

500

516

of 480

500

516

Sheets.

Sheets. 1

Sheets.

lb.

lb. oz.

lb. oz. \

lb.

lb. oz.

7 4

7 8

40 10

41 15

8 5

8 9

41 10

43 0

9 6

9 10

42 11

44 1

10 6

10 12

43 12

45 2

1 1

11 7

11 13

44 12

46 3

12 8

12 14

45 13

47 5

13 8

13 15

46 14

48 6

14 9

15 1 '

47 14

49 7

15 10

16 2

48 15

50 8

16 10

17 3

50 0

51 9

17 1 1

18 4

51 0

52 11

18 12

19 5

52 1

53 12

19 12

20 7

53 2

54 13

20 13

21 8

54 2

SS 14

21 14

22 9

SS 3

56 15

22 14

23 10

56 4

58 1

23 15

24 11

57 4

59 2

25 0

25 12

58 5

60 3

26 0

26 14

59 6

61 4

27 1

27 15

60 6

62 5

28 2

29 0

61 7

63 7

29 2

30 1

62 8

64 8

30 3

31 3

63 8

65 9

31 4

32 4

64 9

66 10

32 4

33 5

65 10

67 11

33 5

34 6

66 10

68 13

34 6

35 7

67 1 1

69 14

35 6

36 8

68 12

70 15

36 7

37 10

69 12

72 0

37 8

38 11

70 13

73 '

38 8

39 12

71 14

74 3

39 9

40 13

72 14

75 4

WAREHOUSE WORK AND STATIONERY. 149

Equivalent "Weights per Ream of Writing Paper
of various sizes.

Or::*

£ X

0
X

X <u X

tJ N

rt
>-.

0
Pi

Cu
3

-1^

o\
X

1-^ CO

C/2

/i>. oz.

lb.

oz.

//-, i>S.

lb.

oz.

lb.

oz.

lb.

oz.

lb.

oz.

lb. oz.

7 11

10 1

22 14

8 5

10 14

24 13

9 0

11 12

26 1 1

9 10

12 9

28 10

10 4

13 6

30 8

10 14

14 4

1 1

32 7

11 9

15 1

34 5

12 3

15 15

36 4

12 13

16 12

38 2

13 7

17 9

40 1

14 2

18 7

41 15

14 12

19 4

43 14

15 t>

20 2

45 12

16 0

1 1

20 15

47 11

i6 11

21 12

49 9

17 5

22 10

51 8

17 15

23 7

53 6

18 9

24 5

1 1

ss s

19 4

1 1

25 2

57 3

19 14

26 0

59 2

^0 8

26 13

1 1

61 0

21 3

27 10

62 15

21 13

28 8

64 13

22 7

29 5

66 12

23 1

30 3

68 11

23 12

31 0

70 9

24 6

31 13

72 8

25 0

32 11

74 6

25 10

33 8

76 5

150

THE PRINTERS' HANDBOOK.

Sizes of Account Books.

Description.

Foolscap ..

Demy

Medium ..

Royal

Super Royal
Imperial ...

Folio.

Broad. I Long.

Ins.

Hi
i6i

i8|

Ins. Ins.
8 i5i
9|i8i
loi 2o|
11^23"
13 126

2oii4|29

Ins.

QUARTO.

Broad. Long,

Ins.

7|
9

13"
I4i

Ins.
6i
7i
8i
9
9l

Ins. Ins.

121

l6i
i8i
i8i

20i

Octavo.

Broad. Long,

Ins.
6

■5
to

Ins. Ins.

3H li

4i
5

l»3

7i 'i4i

Ins.
3

Sizes of Glazed Boards.

Inches.

Foolscap I7i X Hi

Demy 22 x 18

Royal 24 X 19

Royal Extra 25^ X 20

Double Foolscap 29 x 18

Super Royal 29 x 21J-

Imperial 31 x 23

Sizes of Brown Papers.

Inches.

Casing 46 X 36

Double Imperial 44 X 29

Elephant 34 X 24

Double Four Pound 31 X 22

Imperial Cap 29 X 22

Haven Cap 26 X 21

Bag Cap 24 X 19t

Kent Cap 21 x 18

WAREHOUSE WORK AND STATIONERY. 151

Sizes of Letter, Note Paper, &c.

Inches.

Medium 4to 1 oi x 8|-

Medium 8vo 8|- x 5^

Demy4to , gf X 7|

Demy 8vo 7^ X 4^

Demy l6mo 4|- X 3|-

Large Post 4to , 10 X 8

Large Post 8vo ,, 8x5

Post4to 9 X 7|-

Post 8vo 7f X 4\:

Post l6mo 4f X 3|-

Copy4to 91- X 7^

Copy 8vo 7^ X 41-

Foolscap 4to 8 x 6|-

Albert 6 X 3|-

Queen 5|. X 3^

Prince of Wales 4^ X 3

Foolscap 12^ X 8

Sizes of Sugar Papers.

Inches.

Double Two Pound 24 X- 16

Large ditto 27 x 17

Double Small Hand 30 x 19

Royal Hand 25 X 20

Lumber Hand ,.,.. 231- x 18

Middle Hand 22i- X 16

Purple Copy Loaf 2.2i. x l6i

Ditto Double ditto 23 x 164-

Ditto Powder ditto 26 X iS^

Ditto Single ditto 28 x 22

Ditto Elephant 29 X 24

Purple Lump Loaf 33 X 23

Ditto Titler 35 x 20

152 THE PRINTERS' HANDBOOK.

Sizes of Cards.

Inches.

Large 4t x 3

Carte de Visite 4|- x 2^

Small 2>k X 2|-

Reduced Small 3^- x 2\

Extra Thirds 3 x if

Thirds 3 X li

HalfSmall 2i x l^

Town Size 3 x 2

Half Large ,..,. 3 X 2i

Double Small 5 X 3|-

Double Large 6 X 4^

Quadruple Small 7 x 5

Quadruple Large 9 x 6

Sizes of French Printing Papers with English
Equivalents.

Inches. Centimetres.

Pot 12.2 X 16.5 ... 31 x 42

Poulet 8.6 X 11.0 ...22.5 X 28

Couronne 14.2 x 18.1 ... 36 x 46

Ecu 15.7 X 20.4 ... 40 X 52

Coquille 17. 7 X 22.0 ... 45 X 56

Cloche-Normande 13.8 X 20.4 ... 35 X 52

Telliere 13.O X 17-3 -■• 33 X 44

Griffon 13.8 X 17.7 ••• 35 X 45

Petit Raisin 12.6 x 17. o ... 32 x 43

Carre 17.7 x 22.0 ... 45 x 56

Cavalier 18. 5 x 23.6 ... 47 x 60

Raisin, or Grand Raisin 19. 7 x 25.6 ... 50 x 65

Petit Jesus 21.6 X 27.5 ... 55 x 70

Jesus-Musique 22. 0 X 27.5 ... 54 X 70

Grand Jesus 22.4 X 29.5 ... 56 x 75

Petit Colombier, or Soleil ... 23.6 x 31. 5 ... 60 X 80

Grand Colombier 24.4 X 35.4 ... 62 x 90

Grand Aigle 28.8 X 40.O ... 73 x 102

Grand Monde 35.4 X 47.1 ... 90 x 120

WAREHOUSE WORK AND STATIONERY. 153

Sizes of English Printing Papers with French
Equivalents.

Inches.

Pott 12.5 X 15.5

Foolscap 13.5 X 17

Post 15.7 X 19-5

Crown 15 X 20

Demy 17. 5 X 22.5

Medium 18.5 x 23.5

Royal 20 X 25

Super Royal 20.5 x 27.5

Imperial 22 x 30

Double Pott 15-5 X 25

Double Foolscap 17 x 27

Double Post 19.5 X 31.5

Double Crown 20 X 30

Double Demy 22.5 x 35

Double Royal 25 x 40

Double Super Royal 27.5 x 41

Sizes of German Papers with French Equivalents

Writing Paper.
Inches.

Schlangle 12. 2 x 15.3

Canzlei 12. 9 x 16.5 ... 33 x 42

„ (Untrimmed) ... 13.10 x 16.9 ... 34 x 43

Propatria 14. 1 X 17-3 ••• 3^ X 44.5

Lowen 14. 3 X 19.2 ... 37 X 48

Centimetres.
31-7 X 39-4

X
X
X
X
X
X
X
X
X
X
X
X
X
X
X

34-3
40.0

38.1
44-4
47.6
50.8
52.0
55-9
39-4
43-2
49.6
50.8

57-1
62.5
69.9

43-2
49.6
50.8
59-1
59-7
62.5

69.9
76.2

62.5
68.6
40.0
76.2

101.6
104

Centimetres.
31 X 39-5

Paper for Account Books and for Drawings.

Inches.

Klein Median 15.6 x 20

Median 16.5 X 21.5

Gross Median 17.3 X 23.2

Klein Royal 19. 2 x 24.8

Noten Royal (for Music) 19.9 X 26.3

Gross Royal 20. 7 X 27.1

Super Royal 21.5 X 28.2

Imperial 22.8 X 29.8

Klein Adler 24.4 X 35-5

Elephant 26.3 x 36.3

Centimetres.
40 X 51

42
44

48
50
52
54
58
62

54
58
63
67
68
72
76
90
92

154 THE PRINTERS' HANDBOOK.

Sizes of Italian Papers with French Equivalents.

Inches. Centimetres.

Ottavina 5.3 x 8.5 ... 13.5 x 21

Sestina 7.1 x 9.0... 18 x 22.5

Quartina 8.3 X 10.6 ... 21 x 27

Mezzanella :.. 9.0 X 14. 2 ... 23 x 36

Olandina 9.8 x 15.3 ... 25 X 39

Quadrotta (formate francese) 10.4 X 16. 5 ... 26.5 x 42

., (formato Italiano) 10.6 X 17.4... 27.5 x 44.5

„ (formato tedesco) 1 1.4 x 18.9 ... 29 x 48

Processo, or Notarile 10.2 x 15.0... 26 x 38

Protocollo, or Pellegrina 12.2 x 16.5 ... 31 X 42

Rispetto 13.0 X 17.7 ... 33 X 45

Stato, or Leona 14.1 x 18. 9. ..36 X 48

Bastarda ;.; 16. 5 x 22.1 ... 42 x 56

Realino, or Mezzana 17.7 x 23.6 ... 45 X 60

Reale 19-7 X 25.5 ... 50 X 65

Realone ..• 20.4 x 27.1 ... 52 x 69

Imperialino 21.2 X 29.9 ... 54 X 76

Imperiale 24. 0 X 32.0 ... 61 X 81

Elefante 26.0 X 37.8 ... 66 X 96

Aquila 27.5 x 39.4 ... 70 x 100

Crystalline Coating for Paper. — This may be ob-
tained, it is stated, by mixing a very concentrated cold solution
of salt with dextrine and laying the thinnest coating of the
fluid on the surface to be covered by means of a broad, soft
brush. After drying, the surface has a beautiful, bright,
mother-of-pearl coating, which, in consequence of the dex-
trine, adheres firmly to paper and wood. The coating may
be made adhesive to glass by doing it over with an alcoholic
shellac solution. Sulphate of magnesia, acetate of soda and
sulphate of tin are among the salts which produce the most
attractive crystalline coatings. Paper must first be sized,
otherwise it will absorb the liquid and prevent the formation
of crystals.

WAREHOUSE WORK AND STATIONERY.

155

Table she

wing

Cost of Paper per 100.

Price per
Ream.

5/-

61-

7/-

8/-

9/-

10/-

i./-

12/-'

13/-

Sizes.

i6mo

i2mo

8vo

s. d.

0 of

0 li
0 I^

0 3i
0 4i

0 7i

1 I

s. d.
0 I
0 li
0 2
0 4

0 5i

0 8

1 3i

j. d
0 li
0 li
0 2I

0 4i
0 6

0 9

1 6

s. d.
0 li
0 l|

0 2h
0 5I

0 7

0 10^

1 9

j. d.
0 li
0 2

0 3
0 6
0 8

0 iif

1 III

f. d.
0 i|

0 2i

0 3i
0 6h

0 8|

1 I

2 2

0 if

0 2^
0 3i

J. d.
0 2
0 2|
0 A

J. d.
0 2
0 2|

0 4i

/I to

0 7i 0 7^

0 84

Third

Half-sheet
Sheet

0 92

1 2i

2 4i

0 10^

1 3h

2 7i

0 iii

1 5

2 10

Price per
Ream.

14/-

15/-

16/-

17/-

18/-

19/-

Sizes.

l6mo

i2mo

Svo

.?. d.

0 2i

0 3

0 4h

0 9

1 oi
I 6i
3 oi

j. d.
0 2^
0 3i
0 5

0 9|

1 I

I 7i
3 3

s. d.
0 2|

0 3i

0 si

0 loi

1 2

I 9

3 5i

i. d

0 2|

0 3?

0 s\

0 II

1 2|
I 10

3 8

s. d.

0 3
0 4
0 6

0 iif

1 3f
I iii

3 II

0 3i
0 4i

0 6i

1 oi

1 4i

2 o|
4 14

4to

Third

Half-sheet
Sheet

20/-

21/-

24/-

9
7

Table showing Cost of Paper per 1,000.

Price per
Ream.

5/-

6/-

7/-

8/-

9/-

10/-

11/- 1 12/-

13/-

Sizes.

l6mo

X2mo

8vo

j. d.

0 II

1 4i

2 8i

3 7h
5 5

10 10

^. d.

0 9f

1 I

I 7i

3 3

4 4
6 6

13 0

0 iii

1 3

I lof

3 9i
5 I
7 7
15 2

j. d.
I I

1 5^

2 2

4 4

5 9h
8 8

17 4

.?. a'.

I 2|

1 7i

2 5i
4 loi
6 6

9 9
19 6

j. d.
I 4i

1 95

2 8i
5 5
7 3

10 10
21 8

s. d.

1 6

2 0
2 ii|

^. d.

1 7i

2 2

j. d.

1 9

2 4

3 6i

4to

5 Hi 6 6

7 oi

Third

Half-sheet
Sheet

7 Hi
II 11
23 10

8 8
13 0
26 0

9 5
14 I
28 2

Price per
Ream.

Sizes.

i6mo ,

i2mo

Svo

4to

Third

Half-sheet
Sheet

14/-

15/-

J. d.

s. d.

I lOf

2 oi

2 6i

2 8i

3 9*

4 o|

7 7

8 li

10 2

10 10

15 2

16 3

30 4

32 6

16/-

17/-

19/-

s. d.

2 2 2

2 lOf 3

.;. d. s.

2 5i! 2

3 3 I 3

4 loi 5
9 9

12 34 13 o
18 5 J19 6
36 10 '39 o 41

10 34
13 9

20/-

111-

s. d. s. d.

2 Si 2 10

3 7I 3 94

5 5,5

10 10 [II

14 5415

21 8 J22

43 4 |45

24/-

8ii 6

4413

156

THE PRINTERS' HANDBOOK.

Sizes of Printing Paper, subdivided.

Broadside.! Folio. Quarto.

Octavo.

i6mo.

32mo.

D. Sup. Royal

27^X41 '2oiX27i 131x20^10^ XI3f

6|Xioi

5X6|

Double Royal

25X40 I 20X25 I2iX20

IOXI2i

6iXio

5X6i

Double Demy ...

22iX35 |I7iX22illiXl7i

8|Xlli

Six8|

4iX5i

Double Crown

20X30 15X20

10x15

7iXio

5X7i

3|XS

Double Post ...

i9iX3iii5lXi9i

9SX15S

8X9l 5X7i

4x5

Double Fcap. ...

17x27

13^X17

8iXi3i

6|x8i

4Sx6i

4Sx8i

Double Pott ...

i5iX25

i24xi5i

7IX124

6iX7S

4X64

3X4

Imperial

22x30 15X22

11X15

7iXii

5iX7i

3lX5^

Super Royal ...

20^x27* i3SX2oi

ioiXi3l

7Xioi

5x7

5X81

Royal

20X25 I2iX20

IOXI2i

6iXio

5X6i

3x5

Medium 18^x23^115x18^

9iXii3

6X9i

4iX6

3X4i

Demy 17^X22^11^x17^

S^Xiii

5ix8|

4iX5i

2iX4i

Crown

15X20 10X15

7iXio

5X7i

3?X5

2iX3l

Post

15IX19V 9iXi5l

8X9l

5X8

4x5

2iX4

Foolscap

13^X17

8iXi3i

6|x8i

4ix6|

3iX4l

2X3i

Pott jiajxisi 7|Xi2i

6iX7l

4X6i

3X4

2x3

To Make Emery Paper. — Fix a sheet of stout blotting
paper on a board, gluing it round the edge. Put emery
powder into a sifter, the mesh of which has the requisite
degree of fineness, and, rapidly covering the paper with thin
hot glue, shake the sifter lightly over the paper until it is
evenly covered, and leave to cool. When dry, detach the
paper and shake it vigorously to remove loose grains.

WAREHOUSE WORK AND STATIONERY.

157

Table for Giving out Paper.

a: S

NUMBER OF IMPRESSIONS

3N SHEET.

ic3

0. Q.

100

150

200

2CX3

250

300

400

500

750

I OCX)

ICXX)

1500

2000

3000

125

3000

4000

166

0 13

4000

5000

208

104

0 17

5000

2^ote. — Q means quires, s sheets, and o the overplus copies.

Carbon Paper. — To make carbon paper take of clear
lard, five ounces ; beeswax, one ounce ; Canada balsam, one-
tenth ounce ; lampblack, q. s. Melt by aid of heat, and mix.
Apply with a flannel dauber, removing as much as possible
with clean woollen rags.

Impermeable "Wrapping Paper, — Dissolve one and
a half pounds of soap in a quart of water ; then dissolve two
ounces of gum arable and six ounces of glue in another quart
of water. Mix the two solutions ; warm the mixture ; dip the
paper in the liquid ; pass it between two rolls (a clothes-
wringer, for example), and put it to dry. In default of rolls,
hang the paper up, that it may drip well, or better, pass it
between two sheets of dry paper. Then let dry in mild tem-
perature.

158 THE PRINTERS' HANDBOOK.

To Soften Harsh Papers. — Almost any kind of paper,
however harsh in texture, may be rendered soft and flexible
by heating it in a solution of acetate of soda, or of potash dis-
solved in four to ten times its weight of water. For per-
manent paper to twenty parts of this solution one part of
starch or dextrine is added. If the paper has to be made
transparent, a little of a solution containing one part soluble
glass in four to eight parts water is added. To render the
paper fit for copying without being made wet, to the acetate
solution chromic acid or feiro-cyanide of potassium is added.

Satin Paper. — The Belgian or satin paper, which has
the appearance of silk or satin, has a calendered and sized
book paper as a foundation layer. The paper is printed with
the zinc white ground in No. 3 varnish, and when dry the
sheets are run through a calendering machine. Where the
latter cannot be had, take a lithographic stone polished as
smoothly as possible, and with oxalic acid, water, and paper,
make a paste (oxalic acid must be powdered before the water
is poured on it), and rub it over the stone until it has the
appearance of a looking-glass. This can best be done by
using a large piece of cork smooth on the bottom, and a piece
of woollen cloth or flannel over it. With this dabber rub the
oxalic acid on the stone with heavy pressure in the same
manner as in stone grinding. When the printed and asbestos-
dusted sheets are pulled through the press — the printed side,
of course, to the polished surface of the stone — the asbestos
will be by this pressure fastened to the sheets by its lengthy
fibres, and give thereby the satin-like appearance of which we
have spoken.

Tracing Cloth is thin muslin sized with isinglass and
passed through polished rolls heated by steam. Tracing
paper is either sized with isinglass and calendered, or oiled
with linseed oil.

To Detect Arsenic in Papers impregnate the paper
with a solution of nitre, dry, and burn it on a plate ; the
ashes are boiled with dilute caustic potash, the liquor filtered,

WAREHOUSE WORK AND STATIONERY. 159

and sulphuric acid and permanganate solution added, until no
more is decolorized ; finally, the cold filtered liquid is treated
in a flask with zinc and sulphuric acid, two papers being
placed on the neck, one being impregnated with lead acetate,
the other with silver nitrate ; unless sulphuretted hydrogen be
formed, the first is not blackened, whilst the second is blackened
if arseniuretted hydrogen be evolved, i.e., if arsenic be present
in the paper.

Papers Sized with Resin Size are found to have a
more or less acid reaction due to free sulphuric acid, which
has never been observed in samples sized with animal glue.
The acid is probably derived from the alum or aluminum
sulphate used in sizing, which is decomposed by contact with
the vegetable fibre, as it takes place in dyeing, a basic salt
being deposited upon the fibre, and a portion of acid liberated.

To Wet Down Paper. — Place a wetting-board near
the trough ; on it lay half-a-dozen dry sheets of the paper to
be wetted. Then take half-a-dozen other sheets and pass
them together through the water ; then lay half-a-dozen
sheets of dry paper on these, and go on in the same manner
till you have finished. If the paper was delivered folded, it
must be opened out, and you must be careful to turn the
backs or ridges sometimes up and sometimes down, in order
that it may eventually come out flat. When the wetting pro-
cess is finished, place a board on the top of the heap, and
place weights on it — a small weight at first — say twenty
pounds, and after an hour increase it to sixty, and then put
on as much pressure as you like. Leave the heap for twelve
hours. If it opens out too wet, intersperse some dry sheets
throughout the heap, and squeeze it for some time in a screw
or hydraulic press ; if too dry, sprinkle every dozen or twenty
sheets and press as before.

For Paper Sizing, caseine of milk, which has the same
chemical composition as egg albumen, is a good and cheap
substitute. It may be dissolved in water that is sliarhtly
alkaline, especially in very dilute aqua ammonia.

i6o THE PRINTERS' HANDBOOK.

To Prepare Paper for Transparent Printing. —
The secret of this lies entirely in the preparation of the paper.
Thin plate paper is coated with good flour or starch paste
evenly laid on with a brush and dried slowly before a fire.
When dry another coating, this time of a strong solution of
gum or gum and starch, is given, and when this is dry the
sheet is run once or twice through a rolling press, or pressed
between zinc plates in a hydraulic press, which ensures an
even surface for printing on. If the tablet is to be affixed to
glass the printing is done in the ordinary rotation of colours
in the usual way. The coating of gum rendering the surface
adhesive a slight damping is all that is necessary to affi.v the
tablet to the glass.

W^aterproof Labels. ^ — The label having been properly
pasted on and dried, coat it first with a size prepared by add-
ing as much alcohol to thick mucilage or gum arabic as this
will stand without precipitating. When the sizing is dry, the
label is brushed over with a solution of 50 parts of mastic and
1 part of storax in 165 parts of alcohol. In making the latter
solution, it is recommended to add about 25 parts of sand,
which mixes with the mastic and permits the alcohol to pene-
trate the mass more rapidly.

W^aterproof Paper. — The following is given as a method
of rendering paper impervious to water: — To a weak solution
of common glue add acetic acid — about five per cent. Then
dissolve in distilled water about seven per cent, of bichromate
of potassium. Mix the solutions together, pass the sheets
through the compound, and then hang up the paper to dry.
When dry, polish and surface in the usual way.

Knamel Paper. — The pigments used in enamelling
paper are metallic substances such as will spread smoothly
and take a polish, and include white lead, oxide of zinc, sul-
phate of barytes, china clay, whiting, chalk, in a menstruum,
or upon a previous coating of glycerine, size, collodion, water,
varnish, etc., polished between calendering or burnishing
cylinders.

WAREHOUSE WORK AND STATIONERY. 161

Fire and "Water-Resisting Paper. — It is said paper
can be prepared so as to resist the effects of both fire and
water by treating it with a solution of asbestos, common salt,
and alum. The paper is plunged in this mixture and after-
wards dried. It is then treated with a gum dissolved in
alcohol, and afterwards dried and surfaced between rollers of
metal. The solution strengthens the paper and renders it
fireproof; the gum makes it impermeable to water.

To Make Blue Sugar Paper. — A very good recipe for
this is as follows: — To i^ lb. of pulp add 24 oz. verdigris,
3 lb. alum, and 50 to 55 cans water, which have to be boiled
together. After the pulp has lain for a few days it is taken
out, the water drained off, and the pulp placed in a decoction
of Brazil wood, being then worked up as for ordinary paper.

Anti-Forgery Paper. — To prevent alterations in writ-
ing, the following process of preparing paper is recommended
by an American inventor : — Add to the sizing five per cent, of
cyanide of potassium and sulphide of antimony, and run the
sized paper through a thin solution of sulphate of manganese
or copper. Any writing on this paper with ink made from
nut-galls and sulphate of iron can neither be removed with
acids nor erased mechanically. Any acid will immediately
change the writing from black to blue or red. Any alkali will
change the paper to brown. Any erasure will remove the
layer of colour and expose the white ground of the paper,
since the colour of the paper is only fixed to the outside of the
paper without penetrating it.

Uninflammable Paper. — The following is given as a
cheap mode of rendering fabrics and paper uninflammable :
Four parts of borax and three parts sulphate of magnesia are
shaken up together just before being required. The mixture
is then dissolved in from twenty to thirty parts of warm
water. Into the resulting solution the articles to be protected
from fire are immersed, and when they are thoroughly soaked^
they are dried, preferably in the open air.

i62 THE PRINTERS' HANDBOOK.

A New Process for Watermarking Paper con-
sists in transferring to the dandy roll a design in relief, pre-
viously executed on a sheet of paper with a small tube-pen
containing a specially prepared enamel. The design, as
drawn, is placed on the roll or mould and after some hours
the paper is removed by damping, leaving the enamel design
fixed on the wire-cloth. With the tube-pen the lines in
relief are then added, imitating the wire-mark, and covered
with varnish, producing a filigrane. When done with, this
watermark can be removed without damaging the roll ojr
mould, and a fresh design applied, and in case of accident it
can be easily repaired.

Coloured Wall-Papers.^In the manufacture of
coloured wall-papers the white paper is first coated with a
uniform " ground " tint. This is done by machine. The
paper cannot be rolled until perfectly dry. A very high
temperature and a considerable number of persons are neces-
sary for that purpose, and the losses during drying, both ac-
cidental and by the negligence of employes, are considerable.
As it is necessary to have on hand a great variety of ground
tints, this operation requires a large stock of coloured papers.
The designs for the coloured figures are reproduced by en-
gravers, each colour on a separate wooden cylinder. The
colours used for printing are generally in the form of paste
mixed with glue. The engraving must therefore have enough
relief for the purpose of printing, to prevent the details of the
colours from blending.

How Hand-made Papers are Made. — Hand-made

paper is formed, one sheet at a time, on what is technically
termed a mould — a light wooden frame traversed with thin
slats li inches apart, and the whole covered with fine wire-
cloth ; it is fitted loosely inside of another frame, which is
termed the "deckle," and forms an elevated border all around
the mould. Machme paper is made on a continuous web of
felt in a Fourdrinier machine. The difference between the
two is that the paper made on a hand-mould is thoroughly
felted in all directions and is subjected to no strain while

WAREHOUSE WORK AND STATIONERY. 163

being finished, and therefore retains all its normal strength in
length and width. With machine-made papers the fibres lie
more in one direction than in another, and in transferring from
one section of the machine to another, and subsequently,
while in the web form, it is strained in the same direction — a
weakening process as compared with hand-made. For this
reason manufacturers of ledger and similar papers in which
strength is required are careful to keep the tension of the
paper between the different sections of the machine as light
as possible, but even then considerable difficulty is ex-
perienced in securing strength equal to that obtained by the
hand process.

Straw Board is made altogether, or principally, from
wheat or rye straw. The first process consists in boiling the
straw with quicklime in a wooden digester, taking steam from
a boiler. The straw is packed in layers with lime between,
and the whole boiled for ten or twelve hours, according to cir-
cumstances. Straw is composed of a tube of woody fibre and
cellular tissue, its surface containing silicates of potassa and
soda with free silica. The woody fibre also contains silica.
To this silica the straw of grain or grass owes in great part
its strength. In boiling, the lime and the silica combine,
leaving the straw in a soft pulpy state. The mass is now
ground into pulp, and then drawn into a vat containing water,
kept constantly agitated by a series of revolving arms. A
wire-gauze cylinder is adjusted that revolves partially beneath
the surface of the fluid mass. The pulp adheres to the
gauze, and is carried to another cylinder, around which an
endless belt of felt runs. The latter cylinder presses upon
the gauze, and causes the pulp to adhere to the felt and con-
dense so as to give it enough consistency to be taken up by
yet another cylinder, called the "forming cylinder," one of a
pair made of polished metal, and by these the pulp is strongly
compressed. The pulp is wound round the " former " until
the proper thickness, determined by an indicator, is obtained.
Along the forming " cylinder " there is a groove planed out,
through which the operator now rapidly passes a wooden
knife, thus severing the soft board, and at the same time he

i64 THE PRINTERS' HANDBOOK.

unwinds the sheet and removes it. These sheets are th^n
dried, completing the process. Woollen rags are sometimes
ground and mixed with the straw pulp, making a much
darker coloured and heavier board, and worth considerably
more than the pure straw board. The white lining of these
boards was pasted by hand, but now a machine does this at
the rate of twenty sheets a minute. This machine is auto-
matic ; it pastes the boards, lays on the white paper from a
continuous roll, dries, presses, and calenders them, so that
when the boards leave the machine they are ready for the
box manufacturer.

^Vashable Paper. — Writing and drawing paper first
receive a thin coating of a mixture of glue, or some other
suitable adhesive substance, with zinc white, chalk, barytes,
etc., and the colour for producing the desired tint. They are
then coated with cilicate of soda, to which a small quantity of
magnesia has been added, and dried at a temperature of
25° C. during ten days or so. Paper thus treated is said to
possess the property of preserving writing or drawing in lead
pencil, chalk, or Indian ink.

Papier-Mache is made either by cementing together
sheets of paper and afterwards coating them with oil, and
then baking them, finishing with varnish, or it is produced by
re-pulping old paper or from new pulp. In the latter case,
wood is frequently employed, besides other fibrous material.
To this end it is pulped in the same manner as for paper, and
the pulp then compounded with the necessary constituents
for its production, such as oil, pitch, resin, soda, sugar of
lead, glue, etc. From this, in a pasty or doughy state, the
articles are made by stamping or moulding, and then baking.
Of course inlaying and such work is done while in a plastic
state, or the papier-mache is made into blocks or sheets, then
finished, and afterwards cut and worked up in the same
manner as wood. The uses to which this substance is put
are very numerous, as, for instance, the making of furniture,
book-backs, albums, buttons, medals, picture-frames, and a
host of other purposes.

WAREHOUSE WORK AND STATIONERY. 165

Pinched Post. — It has been said that this size resulted
from the double invention of paper-making machinery and
paper-cutting machinery, the former overcoming the waste of
the unfinished deckle edge of paper made by hand, and the
latter saving every second shaving which the plough-cutting
press necessitated. We still take our sizes, however, from
the hand-mould deckle, and call post 19 X 15^, and large
post 21 X 16^. Country travellers representing some of the
first houses in the paper trade show samples accordingly,
although the reams when cut up and re-tied measure no
more than 9 x 14. Indeed, it is useless to send out post
octavo larger than 44- X 7 if it is to be used with the standard
sizes of envelopes. The graduation of the four leading sizes
of writing-paper, post octavo, large post octavo, post quarto,
and large post quarto, would be greatly improved by shorten-
ing the folio of both post and large post one inch. If such a
change could be made with the general approval and consent
of the trade, 14^^ X 19 and 15^: X 2 1 would have quite suffi-
cient margin for the present width of the page of both post
and large post octavo to be maintained, and the depth of each
page to be half as much again as its width, thus insuring
greater symmetry than now exists. The proposed alteration
would be as follows: — Post folio, 14|- X 19; post quarto,
^i X 9 ; post octavo, 4|- x 6^. Large post folio, 1 5f X 21;
large post quarto, 7|- X 10 ; large post octavo, 5 x 1^.

Tracing Paper is very expensive in the market, and
everyone who would like to make his own may do it in the
following manner : — Mix well together 75 parts of olive oil
and 25 parts of benzine. With a brush put it on best tissue
paper, and hang it up for about thirty-six hours. This is a
very transparent tracing paper : until the benzme has evapo-
rated it is also extremely inflammable.

Another Method. — Steep sheets of paper in a strong
solution of gum arable, and afterwards press each sheet
between two dry sheets of similar paper, to take off" the super-
fluity of the liquid. This will convert these sheets of paper
into a tracing paper. The solution must be strong — about
the consistency of boiled oil.

i66 THE PRINTERS' HANDBOOK.

Preservative Transfer Paper. — In two quarts of
water dissolve three decagrams dextrine, soak for about two
days, then boil it and allow it to cool. Add six decagrams of
gelatine, put over fire again and dissolve the gelatine, taking
care that the substance does not get to boiling, for in this the
gelatine, together with the dextrine, would lose some of its
adhesiveness. Let the whole become of a molasses-like con-
sistency. This solution, in a warm condition, is to be filtered,
and with it a heavy supersized and calendered book paper may
be coated like transfer paper. It is advisable to add to the
solution about half a pint of alcohol and ten drops of carbolic
acid, and two or three ounces of glycerine to avoid a curling
up of the edges of the paper. This may vary with the state
of the temperature and the condition of the atmosphere ;
where in dry days three ounces will be required, two ounces
will suffice on wet days.

Rapid Drying of Printed "Work. — It is frequently
important that circulars should be sent out immediately after
having been printed — an object that may at times be effected
by using a well-glazed printing paper instead of writing paper.
The former will absorb the ink so fast that, unless piled up
more than is customary, it may be folded and cut at once.
Common qualities of writing paper have a strong tendency to
absorb ink ; but the hard, highly glazed papers absorb ink sa
very slowly that weeks may elapse before it becomes dry. It
is apparent, therefore, that to secure fast drying the printing
must be done with as little ink as will suffice to do the job
properly, or something else must be done to obviate a set-off.
One method to accomplish this is the dusting of the freshly-
printed sheets with some fine powder which will not soil the
paper but will stick to the ink. For the paper a white powder
is the best, so long as it is not used in sufficient quantity to
obscure the ink. Powdered French chalk is in favour for
this purpose, but it causes the paper to slip about during the
process of folding and cutting, besides imparting to it a
slippery feel easily discernible to the touch. Another draw-
back is that the pulverized French chalk being of unequal
granulation, the coarsest particles are left to the last, and

WAREHOUSE WORK AND STATIONERY. 167

become plainly visible. Calcined magnesia has none of these
undesirable qualities. It costs more in the first place than
French chalk, but on account of its lightness — a much larger
quantity going to the pound — is cheaper in the end. It does
not render the paper slippery, is of uniform fineness, leaving
no coarse particles as a residuum. It has, however, a tendency
to stick together and remain among the sheets, but this can
be prevented by attention. In using either of these or any
other powders particular care must be taken not to dust them
on the top of the printed heap, as that will increase the setting-
off. The proper manner is to lay out a quantity of the
powder in a convenient place, then take a pad of cotton or
wool, or else a piece of loose cotton cloth, and dust the powder
into that for a beginning ; then take the printed sheet from
the pile, lay it down in a clean place, and rub the powder
over the ink, taking care to leave no superfluous quantities,
pass it on as one of a new heap, and so continue the operation.
Powder must be renewed on the pad or cloth about every
other sheet, this varying with the size of the job. It is, how-
ever, always important not to use too much powder, or the
over-dusted sheets will have to be handled over again to
remove the superfluity.

To Prepare Paper for Negative Printing. — The
best method of preparing, sensitizing, and fixing ordinary
plain paper for printing from a negative in black on a dead
white ground, is to dip the paper into a solution of ammonium
chloride, then float on a silver bath, which will form silver
chloride.

Parchment Paper may be rendered impervious to oils
by steeping in a hot solution of gelatine, to which 2^ or 3
per cent, of glycerine has been added, and drying. To render
the same paper waterproof, it is soaked in sulphuret of carbon,
containing in the solution 1 per cent, of linseed oil and 4 per
cent, of caoutchouc.

Unsized Plate Paper may be made impervious to
moisture by immersing it in a solution of mastic in oil of tur-
pentine, afterwards drying by a gentle heat.

i68 THE PRINTERS' HANDBOOK.

How to Test Wood-Paper. — Lack of durability in
wood-paper is oftentimes an embarrassment to book pub-
lishers, who cannot always decide upon the material which
goes to compose the paper submitted to them for examination.
The most certain way to discover wood-pulp paper is to take
a drop of an acid composed of three-fourths nitric acid and
one-fourth sulphuric acid. The paper wetted with this one
drop will have a brown stain if there is wood-pulp in the
paper. Experiments recently made in the testing of paper
by means of this acid showed the following results : — White
paper, entirely free from wood-pulp, is barely coloured by the
acid, the part wetted taking on a slight grej'tint after drying.
Wood-pulp paper assumes a dark brown colour immediately
on the application of the acid. With a very little experience
the amount of wood in the paper under test may be approxi-
mated from the rapidity of the discoloration, the shade of
the stain, and the dimensions of the grey-violet ring around
the spot produced by the acid. In coloured papers the
changes worked by the acid vary : blue wood-pulp paper
gives a green stain, red paper a yellowish brown, green paper
a reddish brown.

Weights of Different Sizes of Paper. — It often
happens that a printer having a paper of a certain size and
quality with a known weight per ream, wants to know what
will be the weight of a ream of the same kind of paper in
another size. The following example will show the means of
ascertaining this : —

Example : I have a 24 lb. demy paper : what will be the
weight of a ream of the same paper in double crown size?

The size of a sheet of demy is 17!^ X 22^ inches, and that
of a sheet of double crown is 20 x 30 inches. To ascertain
the weight of the ream of double crown, multiply 24 lbs. by
(20 X 30) and divide by (17^ x 22i-), i.e., 24 x 600 divided
by 393t equals 36^- lb. Ans.

The Rule is : Multiply the weight of the paper you have by
the size (in square inches) of a sheet of the paper whose
weight you require to know, and divide by the size (in square
inches) of a sheet of the first-named paper

WAREHOUSE WORK AND STATIONERY. 169

To Clean Glazed Boards. — These boards soiled with
ink may be cleaned with a little turpentine rubbed on with a
piece of flannel and finished with a soft duster.

Oiled Sheets for Letter-Copying. — The only pre-
paration for this paper is to brush them over on both sides
with boiled oil mixed with litharge. The sheets must be
hung up to dry singly, as if placed in a heap too soon they
are apt to generate heat.

On the Right and Wrong Sides of Paper. —
Roughness of surface cannot be said to invariably indicate the
wrong side of paper. Some misconception prevails on this
point ; but proof is readily obtained from papers for crayon
and chalk drawings. The roughest there is the right side.
On opening a ream of flat paper (i.e., unfolded), the right
side is the top side. When paper is folded into quires it is
right side out. The lettering of the watermarks can only be
read from the right side of the paper. When papers are
azure laid, yellow wove, or blue, they are, if machine-made,
usually darker on the wrong side ; if hand-made, the right
side is the darker. Some of these characteristics may be
absent, and then an independent test becomes necessary.
This is found in the wire cloth mark. When everything else
fails this points out the wrong side. There are but few ex-
ceptions to this rule, since it is seldom the exhaust boxes act
so lightly that the finishing obliterates the marks they leave.
The wrong side of a granite paper is denoted by all the fibre
being set in the same direction. It is worth mentioning that
the wire side is only the wrong side when speaking of
machine-made papers. In hand-made paper it is the right
side. This is rather odd, for undoubtedly the top side would
give the most suitable surface.

Australian Paper, — It is stated that from experiments
made in Melbourne excellent papers have been made from
eleven species of Eucalyptus bark without any addition of rags.
This substance, which can be obtained in immense quantities,
bleaches easily.

THE PRINTERS' HANDBOOK.

Process for Rendering Paper or Cloth Water-
proof, .and at the same time protecting it from change.
Employ an alcohoh'c solution of the agreeable oil used to
perfume Russia leather, and which is obtained by distilling
white birch bark. The oil dissolves readily in alcohol, but is
no longer soluble after it has once dried and become oxidized
to a resin. The thin film of resin formed by impregnating the
fabric does not detract from its pliability in the least, and its
aromatic odour protects it from insects.

Another Fire and Water-proof Paper. — The manu-
facture is accomplished by mixing 25 parts of asbestos fibre
with from 25 to 30 parts of aluminum sulphate, and the mix-
ture is moistened with chloride of zinc and thoroughly washed
in water. It is then treated with a solution of one part of resin
soap in 8 to 10 parts of a solution of pure aluminum sulphate,
after which it is manufactured into paper like ordinary pulp.

Another Process for Making Water-proof Pack-
ing Paper. — The paper is immersed in a solution consisting
of 1^ pounds of white soap dissolved in 1^ pints of water, and
also -^ pound of gum arabic and ^ pound of glue dissolved in
another l^ pints of water. Mix these two solutions in a warm
state. After the emersion the superfluous fluid is expressed
and allowed to dry in a moderately warm temperature.

Another Process. — Paper or pasteboard may be ren-
dered waterproof as follows : — Mix four parts of slaked lime
with three parts of skimmed milk, and add a little alum ; then
give the material two successive coatings of the mixture with
a brush and then let it dry.

A Strong Flexible Paper. — One that is impervious to
dampness, is produced by taking a paper composed of strong
fibres such as manilla, jute, linen, or the like, and of a quality
capable of sustaining a tensile strain of no less than 200
pounds per inch, in the direction of its length when made 1 2
square feet to the pound. When in the process of its manu-
facture, or after it has been made, it is rendered impervious
to water by the application of suitable size. The paper so

WAREHOUSE WORK AND STATIONERY. 171

prepared is then passed through breaking stamps or rollers,
so as to render it limp or flexible ; and this may be done either
while the paper is yet in the paper-machine, or in a separate
machine adapted for the purpose. It sometimes becomes
necessary to pass the paper several times through the break-
ing rolls and sometimes in contrary directions. When the
uses to which it is desired to apply the product demand a very
smooth surface, the paper thus rendered flexible is passed
through calender rolls in order to smooth it.

Another Recipe for Transfer Paper. — Starch, six
ounces ; gum arabic, two ounces ; alum, one ounce. Make
a strong solution of each separately in hot water ; mix and
apply it while still warm to the side of the leaves of paper with
a brush. When dry, a second and third coat may be applied
in the same manner, the paper having been well-pressed to
make it smooth.

Ancient Paper. — From a microscopical examination of
the paper from El-Faijune, preserved in the Austrian Museum
at Vienna, in the collection known as " Papyrus Erzherzog
Rainer," Dr. Julius Wresner has conclusively proved that linen
rags were used in the manufacture of paper as early as the
eighth and ninth centuries. The fibre is chiefly linen, but
there are also traces of cotton, hemp, and animal fibres present.
The manufacture of paper out of rags is therefore an Eastern
and not a German or an Italian invention, as has hitherto
been supposed. Out of five hundred Oriental and Eastern
specimens, not a single one was a raw cotton paper. All
those that were examined had likewise been " clayed " like
modern paper.

Another Remedy for Grease Spots on Paper. —
Grease may be removed from paper in the following manner:
Warm gradually the parts containing the grease, and extract
as much as possible of it by applying blotting paper. Apply
to the warm paper, with a soft clean brush, some clear
essential oil of turpentine that has been boiled, and then com-
plete the operation by rubbing over a little rectified spirits of
wine.

THE PRINTERS' HANDBOOK.

Protection of Paper against Rats. — Waste paper
makes a good thing to banish rats from buildings. Soak the
paper in water in which oxalic acid in liberal quantities has
been dissolved, and then, while wet, ram it tightly into the
chinks through which the rats travel. The rats will never
come near the place again.

Semi-transparent Paper Bags as used in the candy
business are made by lining the interior surface of the bags
with a thin film of fine paraffin wax. This is a mineral
wax, as wholesome as bees'-wax, and not only never becomes
rancid or changed in quality, but the bags treated with it are
well adapted for wrapping every kind of perishable produce.
They will preserve coffee, meal, sugar, and any other prepara-
tion from the atmosphere and from vermin. The use of these
waxed bags is rapidly extending through every department of
commerce and industry.

Non-poisonous Vegetable Fly-paper. — Powdered
black pepper is mixed with syrup to a thick paste, which is
spread by means of a broad brush upon coarse blotting-paper.
Common brown syrup will answer, but syrup made from
sugar is preferable, as it dries much quicker. For use a
piece of this paper is laid upon a plate and dampened with
water. The paper may also be made directly at the mill by
adding sugar to the pulp and afterwards a quarter to one-
third of powdered black pepper, and rapidly working it into a
porous absorbent paper.

Smooth-Surfaced Paper. — The remarkable finish of
American paper is stated to be due to the addition of a
mineral substance called " Agalith," which is a silicate of
magnesia, something like asbestos in nature and texture, and
which is found only in the United States.

Iridescent Paper. — Boil in water eight parts (by weight)
of nut-galls, five parts of sulphate of iron, four each of sal
ammoniac and sulphate of indigo, and one-eighth part of gum
arabic. Wash the paper in this decoction, and then expose
it to the fumes of ammonia until the desired result is reached.

WAREHOUSE WORK AND STATIOXERY. 173

The Life of Printing Papers. — A German scientist
has been making some careful examinations into the compo-
sition and durabihty of printing papers. He appears to have
been requested to go into the investigation by the Prussian
ministry, who have become concerned in regard to the dura-
bihty of important state documents. The question put was
whether the printed matter of to-day will be in existence
fifty years hence. The question would appear to be almost
foolish on the face of it, and yet the proportion of printing
papers that have fifty years' wear in them is very small.
Out of the papers upon which ninety-seven periodicals were
printed, only three were perfectly satisfactory ; while it was
estimated that the paper of thirty-one others contained so
much cellulose of wood and straw, and so much mineral
matter, that they were hardly likely to last more than half a
century. Of the remainder of the periodicals, the paper was
still less satisfactory.

Enamel Surface for Paper or Cards. — The following
formula for the brilliant white satin enamel, applied sometimes
to French cards and papier de luxe, is given in a foreign
journal : — For white, and for all pale and delicate shades,
take 24 parts by weight of paraffin, add thereto 100 parts of
pure kaolin (China clay), very dry, and reduce to a fine
powder. Before mixing with the kaolin, the paraffin must be
heated to fusing point. Let the mixture cool, and it will form
a homogeneous mass, which is to be reduced to powder, and
worked into a paste in a paint-mill with warm water. This
is the enamel ready for application. It can be tinted accord-
ing to fancy.

Blotted Notepaper is simply a sheet of note smothered
with blots of all shapes and sizes. The paper is of various
tints, and if say a light blue, then the blots are printed in a
blue one shade darker than the paper. So the changes are
rung, red on red, green on green, and so on. If black on
white, then the blots are stippled a very light grey, or worked
solid in a black ink greyed down with flake white, which gives
the appearance of blotting paper having been used.

174 THE PRINTERS' HANDBOOK.

Splitting a Sheet of Paper. — It is said that this can
be done by laying the sheet of paper on a piece of glass, soaking
it thoroughly with water, and then passing it smoothly all over
the glass. With a little care the upper half of the sheet
can be peeled off, leaving the under half on the glass. Let
this dry and it will come off the glass very easily. Of course
the glass must be perfectly clean.

A Simple Test for Printing Paper. — Apply the
tone^ue for sizing, and compare opposite sides together for
equality of surface. Look through against strong light for spots,
endnote whether the paper be "regular." Printing paper ought
to " rattle " well, and have good strength and surface. When
there is a great "rattle," and if the paper has a glistening
brilliancy of texture, then most likely straw is present in the
fibre, which, when introduced in excessive quantities, causes
the paper to break when folded. The paper should, therefore,
be creased and then examined.

Paper from Moss. — The U.S. consul at Christiania has
made a report in reference to the manufacture of paper from
a white moss growing abundantly in Norway and Sweden.
Only the mouldering remains of the plant are used, the living
growth never being interfered with, and the paper made from
this decayed vegetation is represented as being of unusual
strength and superior to paper made from wood. If this
discovery is all that is claimed for it, it cannot fail to lead to
important results, because paper made entirely from wood-
pulp is not strong enough without an admixture of cotton
waste or rags to give it fibre. Moss has more fibre in it than
wood, and is, therefore, not in need of fibrous reinforcement
to impart to it the necessary consistency. Not being used
until dead, the moss in question is by nature deprived of the
soft and aqueous portions, and only the tough veins or fibres
are gathered for the paper mill. As the tested moss may be
had for the gathering in Norway and Sweden, it is cheaper
than rags. Any cheap fibre that will add to the strength of
wood-pulp is sure of careful examination from papermakers.

WAREHOUSE WORK AND STATIONERY. 175

The Processes for making "Wood Pulp. — These
are now fewer than half-a-dozen : The Mitscherlich, using
bi-sulphite of Hme ; the Francke, in use at Molndal, near
Gothenborg (Sweden), bi-sulphite of lime, in rotary cylinders
of steel lined with lead ; the Eckmann process, used at Bergvik
(Sweden), bi-sulphite of magnesia, in vertical cylinders; the
Graham process, used in England, uses sulphite of lime and
sulphite of magnesia, with a simultaneous treatment of bi-
carbonate of lime and magnesia, and then treatment with
sulphureous acid in close vessels. In addition to these we
have the latest process of Zahony and Kellner, used at Goritz,
in Austria, and which is said to give excellent results. Bi-
sulphite of lime is used, but there are great advantages
claimed in the complete utilization of the sulphureous acid in
the doing away of steam or sulphuric acid in the bleaching.
The method has already been adopted in several Austrian
mills.

An Early Experiment in Wood Pulp as a Paper

comes to light in the following from the "New York Magazine "
of September 16, 1/95: "A very interesting discovery has
lately been made in the State of Pennsylvania, in the art of
paper-making, by a Mr. Biddis. It is likely to reduce the
price of that important article by producing a saving of rags.
The invention consists in reducing sawdust to a pulp, mi.ving
it with the pulp of rags, and forming the paper from this
mixture. We have seen a specimen of paper made in this
manner, certified to be composed of one-fourth of sawdust,
the remainder of rags. The body and surface of the paper
appear as good as usual ; colour verges a trifle towards a
greenish yellow, which we think could be effectively remedied
by indigo. We understand that in a paper of a coarser kind
a great proportion of sawdust may be used, even in some as
far as three-fourths. Mr. Biddis has erected a mill upon the
principle of his invention, and taken out a patent, a right to
which he proposes selling to one person in each of the states.
The sawdust of all our woods may be used for the manufacture,
though some are preferable to others."

i:6 THE PRIXTERS' HAXDBOOK.

Esthetics and Blotting-paper. — A blorting book
craze has been raginff in New York. The idea is to deco-
rate the walls of a room with them. An aesthetic writer
gives directions for making- them, thus : " There are several
colours of blotting-paper from which to select the shade
desired, but cream or buff is the prettiest. Place together
four or six leaves for one book. Before tying them together,
however, mark, half an inch from the top, two places for slits,
which must be cut with a sharp knife. The distance between
the slits should be about two inches, and each slit should be
at an equal distance from each side of the leaf. After one has
been accurately marked and cut, the others must be done the
same wav. Run through them a ribbon, the colour of which
should harmonize well with the design to be painted on the
cover, and tie in a bow with ends. The ribbons must be run
through the slits from the back. The cover should then be
decorated with a design of anv kind which may be pleasing^.
One, for instance, is a broken pen, from which several little
pigs are making their escape with ^reat rapidity."

Blotting Paper for Duplicating Copies. — To a
German chemist is due an excellent wrinkle by which the old
•• graph '' processes are superseded in a cleanly and efficient
manner. Four parts of glue are soaked in five of water and
in three of ammonia liquor until the glue is softened. The
glue is then warmed until dissolved and three parts of granu-
lated sugar and eight of glycerine are added, the whole being
stirred and brought to boiling point. While hot the mixture
is painted with a broad brush on thick blotting paper until
thoroughly soaked and a thin coating remains on the surface.
After a day or two's drying it is ready for use. The writing
to be copied is written with aniline ink on ordinary writing
paper. Before transferring, the blotting paper is damped
with a sponge or brush and allowed to stand for two or three
minutes. The writing- paper — writing downwards — is placed
on the blotting and the air bubbles pressed out. .\fter half-
a-minute s pressure the writing paper is removed. The copies
are made in the ordinary '• graph " manner from the blotting
paper and when the impressions grow faint the surface of the
blorting- is again damped.

WAREHOUSE WORK AND STATIONERY. 177

New Cutting Machine. — A Chicago firm has patented
a new paper-cutting machine so arranged as to do away witli
" cutting sticks." This machine has a flat-edge lower blade
placed in the table bed. The upper knife on descending
makes a shear cut ; the knife passes below the table bed and
throws part of the front table out as the knife ascends ; the
front table is thrown back automatically, thus making a solid
surface of the table. The set-screws generally used to take
up the wear in the knife bar are dispensed with, and a simple
bevel gib is screwed up by one nut on top, always keeping the
knife bar firm and true. There is no dulling of the knife, as
the knife-dulling surfaces are dispensed with ; it saves the
expense of the knives, saves grinding, sticks, etc., which are
sources of annoyance and expense on other cutters.

Wrapping Paper for Metals. — Paper specially pre-
pared for wrapping metallic articles liable to tarnish is made by
sifting on the sheet while in process of manufacture, and before
pressing or drying, a metallic zinc powder known in com-
merce as blue powder, to the extent of one half the weight of
the dried paper. The sheet is then run between the press
rolls and over the drying cylinders in the ordinary manner.
The zinc powder will adhere to the paper and be partly incor-
porated with it in greater or less quantity as the sheet of
paper pulp is more or less thick or more or less wet. The
paper may also be sized and then dusted with the zinc powder,
or the zinc powder may be mixed with size, starch, etc., and
then be applied to the surface of the paper.

A Sheet of Paper. — The mere placing of dry fibres one
on another, however long and strong and hovvever intimately
mixed, will not make a sheet of paper. A sheet of strong
paper can only be produced by fibres possessing the quality of
losing their elasticity in water as they become soft and recover-
ing it again when dry. When moist the fibres settle down in
every conceivable direction, forming a confused interlaced
mixture, and in drying each one recovers its original elasticity.
The longer the fibre and the more intricate the mixture the
stronger will be the sheet of paper.

178 THE PRINTERS' HANDBOOK.

Printing-papers with \Vater-niarks. — Makers of
good and high-class writings, both machine and hand-
made, have been in the habit ever since paper was manufac-
tured of water-marking them with a device, initials, or name
in full. The result is that while in their own interests makers
have been compelled to keep up the qualities, the consumer
feels sure of getting a first-class article. In printing papers,
on the contrary, it is very seldom indeed that we find a water-
mark of any kind, and the consumer hardly knows what he is
buying. There is really no sufficient reason why well-known
and reliable makes of printing paper should not be systema-
tically water-marked. The one objection is that the water-
mark would often appear out of the centre, and in some cases
perhaps divided in the middle. This, however, is of no prac-
tical importance, as may be judged by an examination of a
sheet of "The Times" newspaper, on the edge of which the
maker's name, or part of it, always appears.

Manufacture of Paper Pads. — The object of this in-
vention is to bind together sheets of paper forming a pad in
such a manner that no binding composition will adhere to the
sheets when removed from the pad ; and it consists, essenti-
ally, in placing on the edge of the paper to be bound a piece
of linen or other porous material and covering the outer sur-
face of the piece of material with a coating of glue or paste,
which will soak through and cause the material to adhere to
the edge of the paper, so as to bind the sheets together as de-
sired. Thisbindingissaidtobemuchstrongerthanthe old style.
The same effect might be produced by coating one side of
the material, and when it is to be used damping or heating
it, so as to make it moist and cause the material to adhere to
the edge of the paper when pressed against it.

Another Safety Envelope. — The best way in which to
secure the inviolability of an envelope is so to cut the flap as
that the end of it may turn over on to the right-hand corner
of the face of the envelope — where the postage stamp will
hold it securely. We believe that the plan has already been
patented in this country.

WAREHOUSE WORK AND STATIONERY. 179

Origin of Blue Writing Paper. — A singular story has
been told concerning the origin ot blue-tinted paper now so
much in vogue for commercial uses. The wife of an English
paper manufacturer named William East, going into the fac-
tory on the domestic wash-day with an old-fashioned blue bag
in her hand, accidentally let the bag and its contents fall into a
vat full of pulp. She thought nothing of the incident and said
nothing about it either to her husband or to his workmen.
Great was the astonishment of the latter when the paper
turned out a peculiar blue colour, while the master was vexed
at what he regarded as gross carelessness on the part of some
of the hands. His wife, wise woman ! kept her own counsel.
The lot of paper was regarded as unsaleable and was stored
for four years. At length East consigned it to his London cor-
respondent with instructions to sell it for what it would bring.
The unlucky paper was accepted as a happily-designed novelty
and was disposed of in open market at a considerable advance
in price. Judge of Mr. East's surprise when he received
from his agent an order for a large invoice of the despised
blue paper ! Here was a pretty dilemma ; he was totally ig-
norant of the manner in which the paper had become blue in
colour, and in his perplexity mentioned the matter to his wife
She promptly enlightened her lord ; he in turn kept the simple
process secret and was for many years the monopolist of the
blue commercial paper manufacture.

Asbestos Paper. — Mr. Ladewig has devised a new pro-
cess of manufacturing from asbestos fibre a pulp and a paper
that resist the action of fire and water, absorb no moisture,
and the former of which (the pulp) may be used as stuffing
and for the joints of engines. The process consists in mixing
about 25 per cent, of asbestos fibre with from 25 to 35 per cent,
of powdered sulphate of alumina. This is moistened with an
aqueous solution of chloride of zinc, is washed with water, and
then treated with a solution of one part of resin soap and
eight or ten parts of water mixed with an equal bulk of sul-
phate of alumina, which should be as pure as possible. The
mixture should have a slightly pulpy consistency. Finally,
there is added 35 per cent, of powdered asbestos and five to

i8o THE PRINTERS' HANDBOOK.

eight per cent, of white barytes. This pulp is treated with
water in an ordinary paper machine and worked just Hke paper
pulp. In order to manufacture from it a solid cardboard,
proof against fire and water, and capable of serving as a
roofing material for light structures, sheets of common card-
board, tarred or otherwise prepared, are covered with the pulp.
The application is made in a paper machine, the pulp being
allowed to flow over the cardboard. Among other uses the
asbestos paper has been recommended for the manufacture
of cigarettes.

Discoloration of Paper. — Experiment has shown that
the discoloration is due to the action of light upon the paper
containing ligneous substances, such as wood, straw, and jute.
When the lignine is removed by chemical means, the effect is
not produced. The yellowing is said to be due to a phenome-
non of o.xidation.

The Protection of Paper and Card Stock. — All
paper and card stock should be kept wrapped and covered
on both sides, as well as at top and bottom, from dust and
smoke, and from the discoloration that takes place. Every
time you take a sheet off the top cover the pile again, or the
top sheet will be spoiled. Some think it unnecessary to cover
printed work, but they are in error, for it is as liable as fresh
stock to have the edge discoloured ; and if the work is not to
be trimmed after printing, this may prove a serious matter.
Never handle either printed or unprinted paper or card with
dirty or greasy hands. If you do, you are liable to spoil two
sheets. Paper stock, if in cases, should be kept carefully
boxed and covered, until used. Flat papers — note, letter,
folio, half-medium, demy, and others, ruled or unruled — should
be carefully shelved and assorted by weights, colours, and sizes,
and labelled. The same applies to cards and envelopes.

Letter and Note Papers. — Confusion is often caused by
using the wrong term. Letter papers are quarto, and note
papers octavo in size. This should be impressed on the
memory.

WAREHOUSE WORK AND STATIONERY. l8i

Colouring and Drying Tissue Paper. — Mr, R.

Crompton, of the well-known and eminent firm, has patented
an improved process of treating tissue and other paper in con-
tinuous rolls after manufacture with various solutions, chemi-
cals, colouring matter or dyes, and then drying the same.
The invention is applicable to the manufacture of tracing,
waterproof, and cheque paper, and almost any kind that re-
quires chemical treatment after manufacture. The tissue or
other paper is passed in a vertical direction between two
pressing rolls, covered with felt or other material suitable,
supplied with dye ; this serves to more or less impregnate the
paper with the colouring matter whilst removing surplus of
same. The paper is then passed unsupported through a drying
apparatus arranged close to the pressing rolls.

The Practical Testing of Papers. — Different quali-
ties of paper are tested by various means. The strength is
measured by its resistance to tearing. In machine papers
the strength and stretching power vary according as the force
acts lengthwise or across ; in handmade paper there is little
difference. In the former the difference is in the proportion
of 2*3, according to the direction of the tearing force. The
stretching power acts inversely on the strength, that is, is
greater across than lengthwise. In order to test the resistance
of paper to the most varied mechanical wear, it is crumpled
and kneaded between the hands. After such treatment a weak
paper will be full of holes, a strong paper will assume a
leathery texture. The test also gives a rough idea of the
composition of a paper, much dust showing the presence of
earth, impurities, while breaking up of paper shows over-
bleaching. The thickness of paper is gauged either by
measuring the thickness of a certain number of sheets, or by
taking that of a single sheet by means of a micrometer, where
the paper is placed between two rules, one fixed and the other
movable, acting as a pointer showing the thickness of the
paper on a dial. Over three per cent, of ash shows the
presence of clay, kaolin, heavy spar, gypsum, etc. Micro-
scopical investigation of paper aims at determining the kind
and quality of paper. For this a magnifying power of 150

l82 THE PRINTERS' HANDBOOK.

to 300 diameters suffices, when by colouring the paper with a
solution of iodine, a yellow coloration shows the presence of
wood fibre, a brown one that of linen, cotton or flax, and no
coloration that of cellulose. The determination of the kind
and quality of size may be made by boiling in distilled water
and adding a concentrated solution of tannic acid — flocculent
precipitate shows the presence of animal size ; and by heating
in absolute alcohol and adding distilled water, when a precipi-
tate shows the presence of a vegetable size.

The Largest Size of Paper made by Hand. —
This is called "antiquarian," and should measure 52-i^X30i-
inches. There is obviously no special limit to the size of
machine-made paper. Of course the breadth is fixed by that
of the machine, but the length is practically unlimited while
the machine goes and the " stuff" holds out.

To Cut Paper into Three or Five.— Every printer
has often been vexed in trying to cut paper into three or five
equal parts. If he will simply roll the paper into a scroll
until the ends meet twice, then mark the junction point with
finger-nail or pencil, the sheet will be divided into three
parts. If one-fifth is desired, roll the paper four times.

Japanese Handmade Paper. — The Japanese beat
the world for handmade paper. It is especially good for
etching, and is greatly in vogue among artists. It is
exceedingly durable and highly finished, and prints upon it
are very much finer than on any other quality of paper.
The handmade parchment paper is made from the inner
bark of the sycamore-tree, which has a very tough fibre, and
it is beautifully finished. The Japanese Government has in
its possession official documents printed on this parchment,
which are as good as new to-day, after 1,500 years' wear and
tear. The Japanese themselves use this paper for houses,
coats, umbrellas, screens, and every imaginable purpose.
The manufacture of handmade paper is now being principally
conducted by the Japanese Government as a national enter-
prise.

WAREHOUSE WORK AND STATIONERY. 183

Granulated Paper. — Take some sheets of strong, un-
glazed paper; make a mixture of clear starch; strain it
through a sieve, and, by means of a brush, spread a layer
evenly on the surface of the paper ; then leave it in the air to
dry. Afterwards place the paper thus treated between wet
sheets, in the same manner as if it were india transfer
paper, in order that it may become slightly damp. Put a
stone on the press, and place the paper on the stone, face
upwards ; take a cloth, the texture of which is more or less
close, according to the grain to be obtained ; give a moderate
pull at the press, and, finally, leave the paper to dry again in
the air. This process, which is quite elementary, places the
litho printer in possession of granulated paper ready for the
draughtsman.

Paper and Eyes. — A well-known French litterateur
writes on paper of a greenish hue in order to save his eyes
from the glare of white paper. Yellow writing paper is
suggested by some experts, but according to someone else,
the best paper for " copy " is whitey-brown.

Chinese Rice Paper. — The bloom and softness of rice
paper — which, by the way, is not made of rice, but of pith —
have always attracted admiration, but unfortunately this paper
is too brittle for decorative purposes. The fault is remedied
by laying the paper in a slightly warm weak alcoholic
solution of lime, which is drawn off and the paper dried on
glass plates, the result being pliability without loss of tough-
ness. It retains its velvety surface.

Drawing Paper, as well understood, must be hand-
made, for no machine has yet been able to " shut together "
the fibres of a sheet of paper with anything like the perfection
attainable by the human hand, nor to produce a sheet of equal
toughness, or so little liable to warp when damped. The
evil attending the use of chlorine and other chemicals in
paper, has, says a " Times " correspondent, been of late years
so completely overlooked, that Sir J. C. Robinson appears
justified in speaking of it as an " unconsidered danger to
water-colour art."

l84 THE PRINTERS' HANDBOOK.

A Method of Waxing Paper. — A box provided with
steam pipes has an upper depressed and corrugated surface,
with gutters fed by a funnel, in connection with a perforated
plate, felt sheets, and a roller ; the felt is first thoroughly
saturated with melted wax paraffin, the temperature raised,
and the paper waxed by placing the sheets simply on the
felt bed and passing the roller over.

MUCILAGES.

TO Test Bookbinders' Glue.— Glue that will stand
damp atmosphere is a desideratum among bookbinders.
Few know how to judge of quality except by the price they pay.
Price is no criterion ; neither is colour. The adhesive and
lasting qualities of glue depend upon the raw material from
which it is made ; for if that is inferior and not well cleansed,
the glue will have to be unduly charged with alum or other
antiseptic to make it keep during drying. Weathered glue is
that which has experienced unfavourable weather while drying.
To resist damp it should contain little saline matter. When
buying the article, venture to apply the tongue ; if it tastes
salt or acid, reject it for any but the commonest purpose.
This tasting will also bring out any bad smell the glue may
possess. Another good test is to soak a weighed portion of
dry glue in cold water for twenty-four hours, then dry again
and weigh. The nearer it approaches its original weight the
better it is.

Cement Proof against Boiling Acids. — May be
made by a composition of india-rubber, tallow, lime, and red
lead. The india-rubber must first be melted by a gentle heat,
and then 6 to 8 per cent, by weight of tallow i« added to the
mixture while it is kept well stirred ; next, dry slaked lime is
applied until the fluid mass assumes a consistence similar to
that of soft paste ; lastly, 20 per cent of red lead is added in
order to make it harden and dry.

Glue, Paste, or Mucilage. — The following formula is
published for making a liquid paste or glue from starch and
acid. Place five pounds of potato starch in six pounds of

i86 THE PRINTERS' HANDBOOK.

water, and add a quarter of a pound of pure nitric acid. Keep
it in a warm place, stirring frequently for forty-eight hours.
Then boil the mixture until it forms a thick and translucent
substance. Dilute with water, if necessary, and filter through
a thick cloth. Another paste is made from sugar and gum
arabic. Dissolve five pounds of gum arabic and one pound of
sugar in five pounds of water, add one ounce of nitric acid,
and heat to boiling ; then mix the above with the starch paste.
The resultant paste is liquid, does not mould, and dries on
paper with a gloss. It is useful for labels, wrappers, and fine
bookbinders' use. Dry pocket glue is made from twelve parts
of glue and five parts of sugar. The glue is boiled until en-
tirely dissolved, the sugar dissolved in the hot glue, and the
mass evaporated until it hardens on cooling. The hard sub-
stance dissolves rapidly in warm water, and is an excellent
glue for use on paper.

To Make an Elastic Mucilage. — To 20 parts of
alcohol add 1 part of salicylic acid, 3 parts of soft soap, and 3
parts of glycerine. Shake well, and then add a mucilage
made of 93 parts of gum arabic and 180 parts of water. This
is said to keep well and to be thoroughly elastic.

Transparent Cement. — Mix in a well-stoppered bottle
10 drachms of chloroform with l 2^ drachms of non-vulcanized
caoutchouc in small pieces. The solution is easily effected ;
when finished, add 2^ drachms of mastic and let the whole
macerate from eight to ten days, but without heat. A per-
fectly white and very adhesive cement is thus produced.

Insoluble Glue. — The addition of 2 per cent, of potassium
bichromate to the water in which glue is dissolved, just prior
to its use, and exposing the glued article to light, will make it
insoluble in hot water.

Waterproof Shellac or Varnish that will stick the
edges of paper together may be made with a quarter of an
ounce of crude gutta percha dissolved in carbon disulphide to
the consistency of mucilage.

MUCILAGES. 187

Paste for Mounting Drawings or Photographs.
— A mixture of gum tragacanth and gum arable forms with
water a thinner mucilage than either of these two gums alone.
Rice flour is said to make an excellent paste for fine paper
work. A solution of two ounces and a half of gum arable in
two quarts of warm water is thickened to a paste with wheat
flour ; to this is added a solution of alum and sugar of lead,
one ounce and a half each, in water. The mixture is heated
and stirred until about to boil, and then cooled. It may be
thinned with a gum solution.

To Prevent Glue turning Sour. — Salicylic acid will
prevent bookbinders' glue from turning sour.

Dextrine as a Substitute for Gum on Envelopes.
— It can be procured of any chemist or drysalter, and is pre-
pared for use by mixing with boiling water until it assumes
the required consistency. It should only be made in quantities
sufficient for immediate use, as it is somewhat difficult to
re-melt.

Liquefiable Sealing-Wax. — Heattwoparts of Venetian
turpentine and dissolve therein four parts white shellac ; re-
move the heat, allow to cool somewhat, and add 10 parts 96
per cent, alcohol. Rub five parts cinnabar into a paste with
alcohol and add this to the mixture, stirring constantly during
the addition. The whole is put into convenient bottles, and
whenever it is desired to use the wax the preparation can be
made perfectly fluid by immersing the bottles in warm water
and shaking.

Cement for Rubber and Metal. — Take pulverized
shellac dissolved in ten times its weight of pure ammonia. In
three days the mixture will be of the required consistency.
The ammonia penetrates the rubber, and enables the shellac
to take a firm hold, but as it all evaporates in time the rubber
is immovably fastened to the metal, and neither gas nor water
will remove it.

THE PRINTERS' HANDBOOK.

Recipe for Sticking "Writing Paper Pads To-
gether.— A quarter of an ounce crude gutta percha ; dissolve
in bisulphate of carbon to the consistency of mucilage. Apply
with a brush to the edges of the paper where required.

Cement Stopping for Wood. — Convert a quantity of
sawdust, of the same kind of wood as that of the work, into
pulp, by boiling and lengthened immersion in water. When
quite soft and pulpy, strain off the water through a cloth, and
squeeze the moisture from it ; keep this for use, and when
wanted mix a sufficient quantity of thin glue to make it into
a paste ; rub it well into the cracks, or fill the holes with it.
When it is quite hard and dry, it may be cleaned off and
finished. If the work has been carefully done, the patches
will hardly be detected.

Stick-fast Mucilage. — The following is said to be a good,
well-keeping preparation : — Gum arabic, 8 ounces ; water,
sufficient ; sulphate of cinchona, 24 grains ; oil of cloves, 3
drops ; glycerine, 4 drachms ; alcohol, 1 drachm. Dissolve
the gum in enough water to form a mucilage of proper thick-
ness ; add to it the glycerine, and finally the oil of cloves and
cinchona sulphate dissolved in the alcohol.

Dry Pocket Glue is made of twelve parts of good glue
and five parts of sugar. The glue is boiled until it is entirely
dissolved ; the sugar is then put into the glue, and the mass is
evaporated until it hardens on cooling. Lukewarm water
melts it very readily, and it is excellent for use in causing
paper to adhere firmly, cleanly, and without producing any
disagreeable odour.

Paste for Labels. — For adhesive labels dissolve one
and a half ounces of common glue, which has lain a day in
cold water, with two ounces of candy sugar and three quarters
of an ounce of gum arabic, in six ounces of hot water, stirring
constantly till the whole is homogeneous. If this paste be
applied to labels with a brush and allowed to dry, they will
then be ready for use by merely moistening with a wet finger.

MUCILAGES.

Marine Glue. — "Liquid marine glue "is a compound
prepared by digesting one part of finely-cut caoutchouc,
during about ten to fourteen days, with ten parts of oil of tur-
pentine at a gentle heat and under frequent agitation. This
liquid is used for rendering wood, ropes, tissues, etc., water-
proof, by applying one or more coats. What is usually known
as " Marine Glue," without the distinction " liquid " or
" solid," is prepared in exactly the same way, and then add-
ing to the solution two parts of shellac — or better, of asphalt —
for every one part of caoutchouc employed. The mixture is
heated in an iron pot until it has become completely homo-
geneous, and does not give off volatile vapours. During the
heating the mass must be carefully stirred, and the tem-
perature should not be allowed to exceed 140° C. (284° F.)
It is then poured out into capsules. For use one of the latter
is heated on a water-bath until the contents are melted, when
it is transferred to a sand-bath and cautiously heated to nearly
140° C. The edges to be cemented together must be warmed,
coated with a thin layer of the marine glue, and then firmly
stuck together.

Glue. — A glue ready for use is made by adding to any
quantity of glue common whisky, instead of water. Put both
together in a bottle, cork it tight, and set it for three or four
days, when it will be fit for use without the application of
heat. Glue thus prepared will, it is stated, keep for years ;
at all times fit for use, except in very cold weather, when it
should be set in warm water before using. To obviate the
difficulty of the stopper getting tight by the glue drying in
the mouth of the bottle, use a tin vessel with the cover fitting
tight on the outside to prevent the escape of the spirit by
evaporation. A strong solution ot isinglass made in the same
manner is an excellent cement for leather.

Mouth Glue is made by dissolving 1 lb. of fine glue or
gelatine in water, and adding \ lb. of brown sugar, boiling the
whole until it is sufficiently thick to become solid on cooling.
Pour into moulds, or on a slightly greased slab, and cut into
pieces when cool.

igo THE PRINTERS' HANDBOOK.

Gumming. — The following is the method used in gum-
ming by label-printing firms. The principal thing to be
observed is to prevent the sheets from curling while drying ;
to do this, the gum must be invariably dissolved in cold water.
To make gum for thick " drapers' " labels, dissolve one pound
of gum arabic, at 6d. per lb., in one quart of cold water, and
strain through flannel. To make gum for chemists' labels,
take one pound of gum arabic (at 6d. per lb.) and dissolve
it in three pints of cold water ; add one tablespoonful of
glycerine and two ounces of honey. Strain through flannel,
and apply with, say, a S^- piece of Turkey sponge, which will
last in constant use three or four months : common sponge
goes to pieces almost directly. Lay the sheet to be gummed
on a flat board, and gum over evenly. Then lay the sheet,
gummed side up, on another thin flat board, and place it in
the board-rack to dry, and the sheet will not curl. The
board-racks used in London generally hold seventy boards
each ; they are simply made, and not expensive, being similar
in construction to a printer's case-rack ; but the fillets to
hold the boards (which are very thin) are only one quarter
the thickness, and of course are placed together as closely as
possible, that is to say, as is consistent with the boards work-
ing freely in and out.

Mucilage for Pasteboard. — Melt together equal parts
of starch and gutta percha. To nine parts of this add three
parts of boiled oil, and one-fifth part of litharge. Continue
the heat and stir until a thorough union of the ingredients
is effected. Apply the mixture hot or somewhat cooled,
and thinned with a small quantity of benzole or turpentine
oil.

"Wafers. — Mix fine flour with the whites of eggs, isin-
glass, and a little yeast. Mingle the materials and beat them
well together. Spread the latter, making thin with gum
water, on even tin plates, and, after drying them on the stove,
cut to required shape. The colours are imparted by using
for Red, a little Brazil or vermilion ; Blue, indigo or verditer ;
Yellow, turmeric, gamboge, or saffron.

MUCILAGES. 191

To Prevent Gum turning Sour. — Add a few drops
of oil of cloves, or of alcohol, or any essential oil. Five or
six drops to a quart of gum is sufficient.

To Keep Mucilage. — The best way to preserve
mucilage is to cork the bottle with an india-rubber stopper.
The india-rubber will not stick to the glass as an ordinary cork
does ; it fits tightly, so preventing access of air from decom-
posing the gum, and can readily be cleansed. Once used,
an india-rubber cork will always be used in the mucilage
bottle.

To Prevent Dampness and Brittleness in Mak-
ing Pasteboards. — Use gum shellac, 3 parts ; caoutchouc
(india-rubber), 1 part, by weight. Dissolve the rubber and
shellac in separate vessels in ether free from alcohol, applying
a gentle heat. When thoroughly dissolved mix the two solu-
tions, and keep in a bottle tightly stoppered.

Liquid Glue. — It is not only acetic acid which may be
used for preparing liquid glue, but also certain other acids, the
most usual being nitric. Proceed as follows : — Break up one
pound of good common glue into small pieces and pour upon
it one pint of water, taking care that the whole of the glue
shall in turn be brought in contact with the water, so that it
may become uniformly soft. Then melt in a covered vessel
on a water-bath, cool it, and add 3 fl. oz. of nitric acid of spec,
gr. 1.335, in small portions, stirring well after each addition.
Finally, put it in bottles. This glue will not gelatinize, and
will retain its full adhesive power. It is, however, very
acid, and cannot be used where acids would be injurious. It
the nitric acid were to be neutralized, the glue solution would
lose most of its adhesiveness. If oxalic acid is used in place
of nitric, and a gentle heat be employed while the acid acts
on the glue, the result is the same as with nitric, so far as
adhesiveness is concerned. But there is this difference, that
the oxalic acid may be removed by lime, and the residuary
liquid glue will be found to have lost none of its adhesive
property.

192 THE PRINTERS' HANDBOOK.

Cement for Leather or Cloth. — One pound of gutta
percha, four ounces of india-rubber, two ounces of pitch, one
ounce of shellac, and two ounces of oil. Melt altogether and
use hot.

Diamond Cement. — Soak isinglass in water till it is
soft ; then dissolve it in the smallest possible quantity of proof
spirit, by the aid of a gentle heat ; in 2 oz. of this mixture
dissolve ten grains of ammoniacum, and whilst still liquid add
half a drachm of mastic dissolved in three drachms of recti-
fied spirit ; stir well together and put into small bottles.
When required for use it must be liquefied by plunging into
hot water and applied directly.

Durable Paste. — To make paste that will keep a year,
dissolve a teaspoonful of alum in a quart of warm water.
When cold, stir in as much flour as will make it the consis-
tency of thick cream, being particular to beat up all the lumps,
stir in as much powdered resin as will stand on a sixpence, and
pour in a few drops of oil of cloves to give it a pleasant odour.
Have on the fire a teacupful of boiling water ; pour the flour
mixture into it, stirring well all the time. In a few minutes
it will be like mush. Pour into an earthen dish ; let it cool ;
lay a cover on and put it in a cool place. When needed for
use take a small portion and soften with warm water.

A Recipe for Gumming. — Dissolve a pound of good
gum arabic in three pints of cold water. Then add a table-
spoonful of glycerine and two ounces of honey. Strain the
mixture through flannel. The glycerine prevents the gummed
labels cracking and curling up when dry. A sponge is the
right thing to use — not a brush. If the mixture is to stand
any time, a few drops of sulphuric acid will prevent its turning
mouldy or losing strength.

Mounting Labels on Cans. — Paper labels may be
made to stick to tin by first brushing the tin over with hydro-
chloric acid.

MUCILAGES. 193

To Preserve Gelatine.— Carbolic acid will keep gela-
tine from decomposing.

Fluid Glue. — A good one ready at all times for instant
use, is a most useful article of stock. To make such a glue,
melt three pounds of glue in a quart of water, and then drop
in gradually a small quantity of nitric acid. When this
ingredient is added, the mixture is to be taken from the fire
and allowed to cool. Glue so prepared has been kept in an
open bottle for two years.

Another Liquid Glue. — Take some good strong glue
and mix it with full proof whisky. Let it digest for three or
four days, and it will be ready for use.

Gum for Backing Labels. — Take any quantity of clear
pure dextrine and mix it with boiling water until it assumes
the consistency of ordinary mucilage. Apply thinly, with a
full-bodied, evenly-rnade, and wide camel's hair brush. The
paper should not be too thin or unsized. The preparation
will dry quickly, and adhere when slightly wet. No more of
the dextrine should be mixed at one time than can be used at
once, as it cannot be remelted easily.

Paste without Boiling. — An American patent has been
granted for an adhesive paste, consisting of flour with an alkali.
If the flour be mixed with an alkali in specified proportions in
the form of powder a compound is formed which, when mixed
with water, will soon assume the consistence of a paste and
will become soluble in water. The action of the alkali on the
flour bursts the starch cells and digests or dissolves it, increas-
ing its bulk and reducing it to a paste, which may be thinned
by the addition of water or thickened by the addition of more
of the alkali and flour. This compound will be sold as a
powder to be mixed with water by the user. Paste compounded
in this way is apt to discolour paper, especially when the
paper is coloured or tinted. It is proposed, therefore, to use
as a neutralizing agent ammonium sulphate [(NHJ^SO^] or
other similar unstable compound, which, when exposed to the
alkaline solution, will cause a double decomposition, whereby

194 THE PRINTERS' HANDBOOK.

potassium sulphate or sodium sulphate, as the case may be,
and ammonium hydrate are produced. The alkali quickly
digests the flour, in a few minutes swelling it up and reducing
it into a paste, which gradually grows thicker in consistence.
At the same time, but more slowly, the ammonium sulphate
acts upon the strong alkali, and a double decomposition takes
place, which results in neutral potassium sulphate or sodium
sulphate, as the case may be, and ammonium hydrate, which
latter passes off slowly as a gas, thereby gradually decreasing
the alkalinity of the mixture. This reaction is slow, and
therefore the ammonium sulphate does not neutralize the strong
alkali until after the flour has been completely digested. After
the completion of this process, the paste, if not of the desired
consistence, may be made more fluid or thicker by the addition
of water or of the paste compound. After the paste is mi.xed
it is free from lumps, and it will remain in condition for use
for several weeks without spoiling. As a powder, it may be
preserved without change indefinitely if kept in a dry place,
and the fact that a given quantity of the powder will make
about eight times its own volume of paste makes it easy to
handle commercially and to transport.

Another Method for Pasting Labels on Metal. — It
is well known that paper pasted, gummed, or glued on to metal,
especially if it has a bright surface, usually comes off on the
slightest provocation, leaving the adhesive material on the back
of the paper with a surface bright and slippery as ice. To
overcome this it is suggested that the metal be first dipped
into a strong and hot solution of washing-soda, afterwards
scrubbing perfectly dry with a clean rag. Onion juice is then
to be applied to the surface of the metal, and the label pasted
and fixed in the ordinary way. It is said to be almost
impossible to separate paper and metal thus joined.

To Preserve Paste. — The decomposition of paste may
be prevented by adding to it a small quantity of carbolic acid.
It will not then become offensive, as it often does when kept
for several days, or when successive layers of paper are put
on with paste.

MUCILAGES. 195

Cement for Envelopes. — " Inviolable " envelopes, long
the desideratum of envelope makers and users, may be rendered
thus by using a solution of cupric ammonia. The latter
dissolves cellulose and other substances. If the envelope is
moistened with the solution, the surface of the paper is to some
extent disintegrated, and a joint is effected which, when dry,
can be opened only by using some force.

Mucilage of Acacia, or Gum Arabic. — It is usually
stated that the preparation of this mucilage in the cold renders it
less liable to become thick and muddj'. This the " Pharma.
Zeitung," in a late issue, disputes upon the authority of H.
Notfke, who recommends the hot treatment. The following
is his plan : " By repeated experiments I have become con-
vinced that the keeping qualities of mucilage gum arable are
improved by using hot water for solution. The water is first
heated to boiling, then allowed to cool to about 80' C. ( 1 76° F),
and this is then poured upon the gum arabic, which had
previously been carefully washed with cold distilled water.
The whole is well covered, set aside in a cool place, and
frequently stirred. Solution will take place rapidly. Any water
lost by evaporation is replaced before straining. The straining
must be done by passing the mucilage through a woollen
strainer, previously washed repeatedly with distilled water.
The strained mucilage should be filled into small bottles (2 to
8 oz.), which had previously been carefully dried in a drying
oven, and must be still hot when filled. They should be filled to
about three-fourths of the neck and at once corked, the cork,
if possible, being pushed down so as to meet the surface of
the mucilage. Mucilage thus prepared, is clear and bright,
and, if put up as here directed, keeps well, though it generally
becomes faintly opalescent after a few days. But this happens
also to mucilage prepared by the cold process. If the mucilage
is heated in a steam bath, immediately after it has been strained,
it will keep still better, but this second heating renders it quite
opaque, which is not considered proper."

To make Wall Paper Stick. — To make paper stick to
a wall that has been whitewashed, wash in vinegar or saleratus
water.

196 THE PRINTERS' HANDBOOK.

Flexible Compound for Paper Pads. — Use one part
by weight of sugar, one part of linseed oil, four parts of gly-
cerine, eight parts of glue or gelatine, a little aniline dye to give
colour. Cover the glue or gelatine with water and soak one half
hour or until soft. Pour off all the water and melt by heating
in a pail or basin placed in another kettle containing boiling
water ; a common glue-pot will do. After melting, put in the
sugar and glycerine, remembering to stir well ; add the dose
and then stir in the oil thoroughly. Green and carmine are
good colours, and when both are used a handsome purple will
be obtained.

Moisture-proof Glue. — Dissolve sixteen ounces of glue
in three pints of skim milk, and if desired still stronger, add
powdered lime. For marine glue, heat moderately a mixture
of india rubber (one part by weight), mineral naphtha or tar
(two parts), and add twenty parts of lac in powder. Heat to
a temperature of 120 degrees to use.

Ordinary Sealing Wax. — The basis of all the different
varieties of sealing wax is shellac and Venice turpentine. Fine
red sealing wax is made as follows : — Melt cautiously 4 oz. of
very pale shellac in a bright copper pan over a clean charcoal
fire to the lowest temperature of heat that will be necessary to
melt it. When the shellac is melted stir it into l^ oz. of
warmed Venice turpentine, and then 3 oz. of vermilion. The
heat should be so maintained as to be just sufficient to permit
of the thorough incorporation of the constituents. When this
latter has been effected the fluid mass is discharged into
metallic moulds and allowed to cool. To produce the beauti-
ful polished surface of the sealing wax of commerce the sticks
are removed from the moulds in which they are cast and
placed in other moulds of polished steel, which may be en-
graved with the name or brand of maker, and with any
desired ornamentation. The steel moulds are heated just
enough to melt the surface of the sealing wax, and the sticks
thus acquire, when cooled, a beautiful glossy surface. Dif-
ferent colours are obtained by the incorporation of suitable
colours instead of the vermilion as above. To perfume

MUCILAGES. 197

sealing wax add to the ingredients, when somewhat soft, and
thoroughly incorporate with them one per cent, of liquid
storax or balsam of Peru, but a little musk essence or amber-
gris will answer the same purpose.

Substitute for Gum Arabic. — A substitute for gum
arabic, which has been patented in Germany, and is likely to be
largely used for technical purposes now that good gum arabic
is so scarce, is made as follows : — Twenty parts of powdered
sugar are boiled with 7 parts of fresh milk, and this is then
mixed with 50 parts of a 36 per cent, solution of silicate of
sodium, the mixture being then cooled to 122° F. and poured
into tin boxes, where granular masses will gradually separate
out, which look very much like pieces of gum arabic. This
artificial gum copiously and instantly reduces Fehling's solution,
so that, if mixed with powdered gum arabic as an adulterant,
its presence could be easily detected. The presence of silicate
of sodium in the ash would also confirm the presence of adul-
teration.

STEREOTYPING AND ELECTRO-
TYPING.

STEREOTYPE Moulds.— To make casts or moulds
of plaster of Paris from metal types, without being troubled
with air bubbles or picks, as they are sometimes called, use
the finest and purest plaster of Paris obtainable. When filling
a mould, beat up the requisite quantity of cream quickly and
with care, to avoid making it too thick. In pouring this in,
use a good camel's hair brush to displace air bubbles ; a mere
surface cover of this thin cream is all that is requisite. While
doing this, have ready the thicker plaster, of the consistency
of light syrup, and fill up the mould at once. In about twenty
minutes open the mould, if the plaster is pure and has been
properly mixed. If too much oil is not put on the type,
and the brush is used properly, it will result in clear, sharp
moulds.

Composition for Mounting Plates. — The following
is recommended for fixing electros on wood, etc. Common
joiners' glue is dissolved to a consistency of syrup, and pure
wood-ashes are added under constant stirring until the mix-
ture has the appearance of varnish. The adhesive power of
this composition is said to be very great, the addition of the
ashes preventing the electros from parting from the wood even
when washed with lye.

Another Method. — A good mastic for fixing stereotype
plates on wood or metal is obtained by dissolving ordinary
cobblers' wax until it is about the thickness of a syrup, and
then stirring in a sufficient quantity of wood-ash to make it
into a kind of varnish.

STEREOTYPING AND ELECTROTYPING. 199

How to Preserve Electrotypes. — When electro-
types are out of use and require to be stored, they should be
kept in a dry place, and the surface of the plates should be
oiled in order to prevent verdigris. When they become
clogged with hard, dry ink, which the pick-brush and turps
fail to remove, they may be cleaned and made equal to new
in a few minutes by covering their surface with a little creo-
sote, and afterwards brushing the surface with turps.

Nickelled Electrotypes. — There are now being pro-
duced a new species of nickelled electrotypes. The electric
current is produced by a Gramme machine ; the mould is of
caoutchouc, and after being taken and blackleaded, is put in
a bath of nickel, where the electric current coats it with a
thin covering of that metal in a short time. The mould is
then withdrawn from that bath and placed in one of copper
solution, where it remains for some hours. Afterwards the
cliche is subjected to the ordinary processes of backing and
finishing, and it is then ready for use. These electros cost
10 centimes the square centimetre (about 6^d. the square
inch), and are of especial value where vermilion ink is used.

Stereo Metal. — Printers should know that to make
stereo metal they should melt together old types and grocers'
tea-chest lead, using 14 lbs. of the former to 6 lbs. of the
latter. It is preferable to melt the type and the tea-lead
separately, and mix them when molten. To prevent any
smoke arising from the melting of tea-lead, it is necessary to
melt it over an ordinary fireplace, for the purpose of
cleansing it, which can be done by throwing in an ordinary
piece of tallow about the size of a nut, and stir it briskly with
the ladle, when the impurities will rise to the surface and can
be skimmed off.

Valuable Hint to Stereotypers. — Occasionally, when
it is rendered necessary for engraving purposes to run a type-
metal plate in a plaster-of-Paris mould, the metal comes out
punctured with numerous air and steam holes, not at all like
the smooth surface of the plaster in which it has been cast.

200 THE PRINTERS' HANDBOOK.

These undesirable results are caused by the molten metal
bubbling like boiling water as soon as it touches the mould,
then cooling and hardening full of cavities on the under side
where it is intended for engraving. So very objectionable
a result can be readily obviated by a few simple precautions.
Warm the plaster mould, then fasten it face upward in a
shallow cast-iron pan, plunge pan and all into a pot of type-
metal, and keep it immersed until bubbles of air and steam
are no longer given off. Then draw it out, permit it to cool,
and separate the plate, and it will be found free from cavities
and ready for planing and trimming.

Stereotyping Music. — The principal London music
printers prefer plaster stereos to electros of music formes.
The reason is that the pressure, perhaps as much as fifty
tons, on the wax to get the mould has a tendency to spread
out the types, and to cause bad joinings. The plaster is
merely poured on, and in drying the mould contracts, which
tends to bring lines together. Some firms, however, work
from an electro taken from a plaster stereo, and in this way
obtain the advantages of both processes.

Proportion of Antimony for Stereo Metal. —
About 12 per cent, of antimony is sufficient to mix with lead
for stereo metal, and will make it quite hard enough without
the addition of tin.

Stereotypers' Paste. — Take 5 oz. of flour, 7 oz. of
white starch, a large tablespoonful of powdered alum, and
4 quarts of water. Put the flour, starch, and alum into a
saucepan, and mix with a little of the water, cold, until the
whole becomes of the consistency of thick cream. Then
gradually add the remainder of the water, stirring well mean-
while to prevent lumps. Put the mixture over the fire and stir
until it boils ; then let it stand until quite cold, when it should
look like jelly. When you are ready for work add Spanish
whiting, the mixture not to be too stiff to spread readily with
the paste brush. Put through a fine wire sieve with a stiff
brush, and it is ready for use.

STEREOTYPING AND ELECTROTYPING. 201

Removing Paraffin from Plates. — In electro
foundries where paraffin is used for cleaning plates, the oil is
almost instantaneously removed by immersing the plate in a
bag of mahogany sawdust. Nothing so readily acts on the
paraffin and brightens the metal. We are afraid, however,
that the treatment would not answer for movable type formes.

Celluloid Stereotypes. — Celluloid is coming into use
for stereotypes. The engraving or forme of type to be stereo-
typed is first used to make a fine paper matrix, just as if a
common metal stereotype was to be made. Then this matrix
is placed in a forme, and over it is laid a sheet of celluloid.
The two are put in a hydraulic press, the temperature is
raised to 300° Fahr., the celluloid is pressed into the matrix
at a pressure of 4,000 lbs. to the square inch, and then the
thing is done. When taken out and cooled the celluloid plate
is an exact counterpart of the original forme, and when
cemented to a suitable wood backing it is good for four times
as many impressions as a copper stereotype. Besides that, it
is not easily damaged. Celluloid is also used for facing wood
type by laying a thin sheet of celluloid over the face of a big
block of wood, and the two are placed in a hot press. W^hen
they come out the celluloid has been forced into the pores of the
wood an eighth of an inch, and has a surface as smooth as
metal type. The block is then cut up into wood type by the
ordinary wood-type machine, or it may be sold to wood en-
gravers, who find it equal to boxwood.

Another Method. — Celluloid stereotypes are made by
placing the dry mould and the celluloid of which the stereo-
type is to be made, in a frame provided with a spring, which
will keep the celluloid under constant pressure. The whole
is then immersed in hot oil until the celluloid is sufficiently
softened to be forced into the mould by the spring.

Electrotyping Handwriting. — To produce electro-
types or stereotypes of letters, signatures, ordinary written
matter, drawings, or sketches, coat a smooth surface of glass
or metal with a smooth thin layer of gelatine, and let it dry.

202 THE PRINTERS' HANDBOOK.

Then write or draw upon it with an ink. containing- chrome
alum ; allow it to dry exposed to light, and immerse the plate
in water. Those parts of the surface which have not been
written upon will swell up and form a relief plate, while those
parts which have been written upon with the chrome ink
have become insoluble in water, after exposure to light. The
relief may be transferred to plaster of Paris, and from this
may be made a plate in type-metal.

Alloy which Expands on Cooling. — Most metals
and alloys shrink or contract on cooling. But an alloy which
will expand on cooling may be made of lead nine parts, anti-
mony two parts, bismuth one part. This alloy can be
advantageously used to fill small holes and defects in iron
castings.

Stereotyping Cold. — A new method is said to have been
invented by a stereotyper. Its sole novelty consists in the
mode of drying the damp matrix as taken from the type.
The matrix is laid with its face upon a fine wire gauze, which
is fixed in a frame the edges of which adapt themselves to the
form of the edges of the matrix. A second frame is then
put upon the first one, and the two fastened together by
cramps ; the edges of the matrix are consequently fixed firmly
between two frames, its face resting upon the wire gauze.
The matrix is then dried by simply placing it in a chamber
by the side of the melting-pot, heated by the escaping gases
of combustion of the latter.

To Make Flong. — Lay down upon a smooth iron or
stone surface a piece of stout brown paper. Paste the surface
of this over equally. Lay a sheet of good blotting paper
upon the pasted surface, and press it down with the hand.
Paste this over, and then put another sheet of blotting paper
on ; smooth well, paste this over ; then place a sheet of
good tissue paper or copying paper upon the blotting paper.
Press it well down again, paste over again, lay another
sheet of tissue on the last, and smooth the whole carefully.
Some pass a small steel roller over the flong to incorporate

STEREOTYPING AND ELECTROTYPING. 203

it more together and give it greater firmness. Flong may-
be had ready prepared ; or it may be made with Nicholson's
paste in the following manner ; Paste a sheet of thick
blotting paper evenly with the prepared composition and
lay upon it a sheet of tissue. Turn the sheet and paste
the blotting paper again, and lay upon it a sheet of thin
demy paper. Turn again and paste the tissue side, and
lay down a second tissue. Paste again and lay down a third
tissue. This flong must not be immersed in hot water.

To Mount Stereo Plates. — For fi.xing stereo plates
on type-high stereo cores, thereby saving the expense of the
old wood-blocks and also the labour in fixing, the following
plan comes from across the Atlantic : — The bed is a plain iron
surface of any stereo-block height. It is placed on a steam-
chest to be warmed, and is then coated by a brush with cement
composed as follows : beeswax, 1 lb. ; gum ibus, 1 lb. ; Bur-
gundy pitch, I lb. It is then removed to an iron table to
cool. When quite cold, the stereo plates are placed on the
dry cement and adjusted. In order to do this accurately, a
light wooden frame is laid over the iron bed, with cross threads
stretched at proper intervals to mark the margin. The iron
bed is then again pushed on the steam-chest, and as soon as
the cement is melted, the bed is shunted on to the bed of a
press. Loose sheets are laid over the plates to soften the im-
pression, and the table is run under the platen. The pressure
is applied till the cement is cold, then the forme is ready for
the machine. The plates are got off with a stout knife, or
melted off.

Sharp Stereo Plates. — The French obtain very sharp
plates in the paper process by using a compound as follows :
1 kilogramme paste made of starch, 1 kilogramme kaolin
(china clay), and 10 grammes yellow dextrine. These are
well mixed and passed through a hair-sieve or fine muslin.
After standing for about two hours the composition is ready
for use. The spreading of this mixture is said to be more
difficult than that in ordinary use, but the sharpness of the
matrices obtained more than compensate for it.

204 THE PRINTERS' HANDBOOK.

Correct Heat of Stereotype Metal. — Dip a piece
of paper in the metal, and if it turns it black the metal is too
hot, but if it turns the paper to a straw colour it is correct.

American Stereotype Metal. — This is compounded
in the United States thus: — lOO lb. good lead, l6 lb. anti-
mony, 4 lb. block tin. The quality of stereotype metal may
be tested if required without analysis by pouring melted
metal on an iron surface. If, in cooling, it becomes a deep
bright steel colour, it may safely be inferred that the metal is
good. Or if, in cutting the surface with a graver, it seems
grainy or gritty as the instrument is passing over it, it may
as safely be adjudged sufficiently hard. It is absolutely es-
sential that the metal should be of the proper consistency,
because if too hard it is likely to break on the press ; if too
soft, to mash. It is, however, a difficult, if not an impossible
task, to apply an absolute test except by analysis.

Mice-proof Stereo Paper Moulds. — By reason of
the paste used for sticking together the different sheets, it is
found that paper matrices or moulds are frequently injured
by mice. Risks of this nature can be obviated by mixing
with the paste some bitter substance, picric acid being
especially recommended for the purpose. Mice will never
touch paste that has been thus treated.

Some Defects in Stereotyping to be guarded
against. — We take the following remarks from the "Press
News." Plates are bevelled usually by a rule of thumb method,
so they are any width within a " lead " or so, and the planing
might be almost as well left alone, only the casting-boxes are
not true. For instance, the casting-box is cold to start with,
and metal is poured into it, with type-high gauges, to make
it hot. These " heaters," so called, are put back into the
metal-pot, or stood aside, if their going back whence they
came would cool the metal too much. Thus the casting-box
becomes hot enough to cast a plate in. The " mould " is laid
on the box, the proper pica or other gauges laid in their
places on its margin, the back of the box is lowered, the cross-

STEREOTYPING AND ELECTROTYPING. 205

piece is swung into its right place, the screw is turned with a
spin, and afterwards by the operator's two hands, and the
whole is then tilted and the metal poured in. The difference
of shape, if any, of the casting-box, owing to its ever-varying
temperature, will be hard to alter, but, oh, that screw just
referred to ! As the box gets hotter its iron gets more pliable ;
as the bustling men get hotter they get stronger, and down
goes that screw on to the middle of the back of the box, just
about as tightly as they can twist it, and the space where the
metal is to run in is reduced by this compression, and the
plate is thinner there, and the metal cools most there and
shrinks as much as it can, so the plate needs planing. If,
instead of this mischievous screw, a bar was placed across on
the " gib-and-cutter " principle, the mould and gauge would
keep their places, the back would not be depressed, and the
plate would be truer. With many planes in use to-day, you
can take three cuts off a plate without altering any part of the
machine, or the " papers " under the plate. This should not
be. It is wrong.

To make Glue Stamps for Endorsing. — Someone
writes ; "I have stopped using rubber stamps and now use glue
ones in my business, and for stamping purposes I use letter-
press ink. The glue stamp is made in the following manner :^
Upon the type or block I place several leaves of tinfoil ; over
this a piece of felt is placed and the whole pressed tightly.
Loosen the press at once and take out the tinfoil matrix, which
is now ready for use. Oil matrix slightly and surround with
oiled bridges or reglets ; then pour fluid glue mixed with a
little roller composition over it. After it gets cool the layer
of the glue will loosen itself slightly from the matrix, and
become sufficiently hard but still remain elastic. The glue I
use is that used by carpenters. During the first few days the
glue may appear somewhat soft, but it soon becomes nice and
hard, and retains sufficient elasticity. I am very well satisfied
with the stamp, as it prints in an excellent manner."

Moulds and Matrices for Stereotype Plates.— A
new invention just patented consists of a dry method in the
manufacture of moulds. The patentee, a Mr. Eastwood, of Hull,

2o6 THE PRINTERS' HANDBOOK.

makes the mould of two parts, viz,, a facing and a backing.
The face is composed of a piece of mushn covered with a
sheet of tissue paper ; the muslin is soaked with, and the
paper (when more than one sheet is used) is pasted with, a
composition which will keep the muslin in a flexible state,
prevent the paper drying hard before use, render it sensitive
to moisture, prevent contraction on application of heat, and
harden the facing when heated. The composition used for
this purpose is formed of glycerine and starch, with or with-
out a small quantity of common salt, suitable proportions of
which are about 6 ounces starch, 1 ounce glycerine, and 20
grains salt. The backing consists of a dry thick sheet of soft
paper — blotting paper, felt, or other suitable substance —
capable of receiving and retaining an impression. The facing
composed of the muslin and tissue paper is dried cold, and
when used should only contain sufficient moisture to render
the paper slightly soft. The muslin should be kept firm and
wiped with a sponge containing the composition. In taking
the matrix the facing is placed upon the type, paper side
downwards, and the backing of dry paper is placed upon it.
They are then covered with woollen or india-rubber blanket-
ing, and rolled or pressed. The matrix is claimed to be at
once formed, and when removed from the type has simply to
be warmed through. The heat quickly sets the composition
and hardens the face.

Copper-plating on Zinc. — The use of cyanide baths
for plating on zinc has the double disadvantage of being
poisonous and expensive. A recent discovery has overcome
the objections by rendering the cyanide bath unnecessary. This
is accomplished by the use of an organic salt of copper, for
instance a tartrate. Dissolve 126 grammes sulphate of copper
(blue vitriol) in 2 litres of water: also 227 grammes tartrate
of potash and 286 grammes crystallized carbonate of soda in
two litres of water. On mixing the two solutions a light
bluish-green precipitate of tartrate of copper is formed. It is
thrown on a linen filter, and afterwards dissolved in half a litre
of caustic soda solution of 16^ B., when it is ready for use.
The coating obtained from this solution is very pliable, smooth,

STEREOTYPING AND ELECTROTYPING. 207

and coherent, with a fine surface, and acquires any desired
thickness if left long enough in the bath. Other metals can
be also employed for plating in the form of tartrates. Instead
of tartrates, phosphates, oxalates, citrates, acetates, and borates
of metals can be used, so that it seems possible to entirely
dispense with the use of cyanide baths.

New Soldering Mixture. — One has been found which
is free from the defects of chloride of zinc. It is made by
mixing one pound of lactic acid with one pound of glycerine
and eight pounds of water. Chloride of zinc, so much used
in soldering, has, besides its corrosive qualities, the drawback
of being unwholesome when used for soldering the tins em-
ployed to can fruit, vegetables, and other foods.

Patent Stereotyping Millboard. — A German has
simplified stereotyping by inventing a sort of stereotyping
millboard, which dispenses with preparing and preserving
paste, and making the flong. When the millboard is to be
used it is put for five minutes in cold water, and then
placed between a layer of blotting paper to take off all the
water on the outside. It is then laid on the forme and beaten
or pressed, where it will dry, giving a sharp impression,
within five or six minutes.

Electrotypers' Moulding Wax. — The following pro-
portions are generally used : —

25 lbs. pure commercial beeswax.
1 oz. white turpentine (lump).
^ lb. plumbago.
The wax must be melted and the others mixed in.

Stereotypers' Improved Paste. — This is composed
of the following ingredients : Water, flour, starch, gum arable,
alum, and whiting. The best of flour and starch are to be
used. These foregoing articles, excepting the whiting, are
thoroughly mixed, and heated by steam. When the mass is
thoroughly homogeneous, sufficient whiting is added to give it
stiffness.

2o8 THE PRINTERS' HANDBOOK.

To Stereotype Zinc Etchings. ^A very wet mould,
free from cr£ases, is recommended. Those who use ready-
made flong should let it lie twenty minutes in cold water,
carefully dry between blotting-paper, and then beat in. Those
who prepare their own matrices will mix the matrix-powder or
chalk with cold water to the consistency of milk, and spread
thickly on the paper, beating continually but lightly with a
sqft brush. All zinc etchings must be thoroughly washed with
paraffin before stereotyping, and also woodcuts which are
to be stereotyped. Old woodcuts and etchings which are
covered with hard, dried ink must be laid face down in paraffin
for at least half an hour, otherwise the stereotype will not be
a success.

Improved Stereo Core Blocks. — Objections have
been made to the various plans of preparing wooH^en or other
cores for stereotype or electrotype blocks. These cores, when
not covered by the metal, were liable to warp or swell from the
water used in washing the formes. To overcome this fault a
new method of making a core has been perfected. The wood ,
or other material is placed over the casting-box and allowed
to remain until sufficiently heated, supports being set^r driven
into the ends at points previously marked^ When a stereotype
is to be made, the matrix is inserted in the-casting-box as in_
the old method, and the core is put into position by means of
the supports, two of which should be in the lower and one in
the upper end of the box. All the pieces of box being in place,
the upper support of the core is covered with s^reotypers'
paste, on the top side only, to prevent its melting when the
hot metal is poured against it. In this way a stereotype is made
and the core covered in one operatiori. A different method^is
pursued when a stereotype or electrotype already cast is to be
mounted on a block. First, it is backed in the usual manner,
and is straightened or planed. Next, the face is laid against
the bottom of the casting-box, the core is put on the back, an(i
strips of tinfoil put around the edges, the intention being for
these strips to fuse as the metal is poured. Pieces of fusible
metal — one, two, three, or four as required — ^just thick enough
to fill the space between the core and the lid of the casting-

STEREOTYPING AND ELECTROTYPING. 209

box, are put on the back of the core ; then, with the enclosing
side and end bars set, the core is ready to receive the metal.
If the plates are old or corroded, the edges around the outside
of the core, where they are to fuse with the new metal, should
be scraped clean and bright, and the strips of tinfoil applied
as in new, bright plates. Blocks made in this way have been
found, after many practical tests, to be absolutely waterproof
and cannor be affected by the air. They also require less
metal than the old style partially enclosed cores, with ends
and sides exposed to moisture.

LITHOGRAPHY.

HOW Photo-Lithography is done. — When the pho-
tographer is required to produce a number of copies of a
landscape or a portrait, he first of all makes a " negative," a
kind of transparency, in which the parts corresponding to the
dark portions of the original are transparent, while those cor-
responding to the lights are opaque. This negative is placed
on a piece of paper so prepared that it goes dark whenever
exposed to the light. Accordingly, those parts which are
covered by the opaque parts of the negative remain of the
original colour, but those on which the light penetrates through
are turned to a dark colour. In this way a paper positive is
produced — a picture in which the lights and shades are cor-
rectly reproduced. The object of photo-lithography is to get
a picture transferred to the lithographic stone in fatty ink, so
that prints may be struck off in the ordinary lithographic
manner. A sheet of plain paper is coated with a solution of
which gelatine is one of the principal constituents. The paper
is dried, and then soaked in bichromate of potassium, when
it becomes sensitive. It is placed under the negative, and
when the print has been made, it is entirely covered with
printing-ink. It is next soaked well in warm water, and strange
though it may appear, when gently brushed over, the ink will
be removed from all those parts which were not exposed to
the action of light. In fact, there is an image in fatty ink on
the paper. To lay it face downward on a litho stone and
make a transfer is but the ordinary system of lithography.
From the stone may be printed almost any number of " photo-
lithographs."

LITHOGRAPHY. 211

Lithographers' " Tushe." — Artists and printers using
the air-brush find that the dots blown upon the stone are of
such a fine texture that they are unable to etch and prepare
them safely, and ask for a " tushe " for this process which will
stand a stronger etching. A German gives the following
recipe, by which artists will be enabled to use the air-brush to
still greater advantage : — Take 10 parts of shellac, 10 of bees-
wax, 8 of Castile soap, 6 of dragon's blood, 6 of tallow, and 10
of palm oil — total, 50 parts. Wax, soap, tallow, and palm oil
are put on the fire in an iron pot large enough to hold at least
ten times the quantity of these ingredients. The fire should be
slow-burning, but as soon as the ingredients are hot enough light
the evaporating gases and burn for a few minutes. Hold
a cover ready in one hand, and cover the pot after about two
minutes. While burning add the dragon's blood and shellac
and stir well. When all ingredients are well melted and mixed
let the whole cool off. Form the mass at the right time into
balls or sticks, and in using the tushe melt one part of tushe
with 10 parts of distilled water in a boiling condition. A tushe,
as described, will, if kept air-tight, last in a liquid form for
about six months, and will stand a very strong etching.

Metal Back for Lithographic Show-Cards. — A
process has been devised by which paper may be caused to
adhere to metal with such persistency that no part of it can be
removed without destroying it. The primary object of this
invention is to enable lithographers to provide metal backs to
fancy show-cards or pictures in such a manner that when the
picture is once placed upon the surface of the metal it will be-
come permanently attached thereto, and not peel off, even when
subjected to severe changes in the temperature of the atmos-
phere. The process is as follows : — "Any suitable acid would
probably answer the purpose ; but muriatic acid of full strength,
with enough zinc added to it to prevent it effervescing by the
addition of anymore zinc, and when thus killed mixed with an
equal quantity of water, produces the desired result when
rubbed over the surface of the metal plate. After thus coating
the metal plate, it is placed in an oven to facilitate its drying
and when dry it is painted with a coating of fii e varnish —

212 THE PRINTERS' HANDBOOK.

preferably that kind of varnish used by coach-builders in
painting the gearing of their vehicles. This coating of varnish
is left to dry until it becomes merely sticky. To facilitate this
drying, the plate is put into a japanner's kiln, which, if kept at
a temperature of about l lO degs. Fahr., will bake the varnish
sufficiently to produce the desired effect in twenty minutes.
If not placed in a kiln, it will take about five hours to acquire
the desired condition. The sheet of paper at this period
should be carefully placed on the surface of this prepared plate,
when, by submitting it to heavy pressure in a lithographer's or
other suitable press, it will be found that the sheet of paper
has become so thoroughly amalgamated with the roughened
and prepared surface of the plate that it is utterly impossible
to peel it off the plate. With the view of finishing or ena-
melling the surface of the paper thus placed on its metal plate,
the surface of the paper isj coated with a suitable sizing pre-
pared as follows : — One pound of gelatine glue dissolved in
water with an ounce of honey makes a suitable elastic sizing
for coating the surface of the paper. When this sizing is
perfectly dry the surface is painted with a coating of the best
dial varnish. The plates thus prepared should be placed in
racks and allowed to remain for a couple of days before being
used, when it will be found that they can be handled, and the
paper with pictures or any ornamentation which may have
been printed on it will be incorporated as perfectly with the
metal plate as though the painting had been placed directly on
the metal."

Printing Dry from Zinc. — Recently the " Lithogra-
phische Rundschau " had an important article on this subject.
In the introduction the editor says that there are very few
branches indeed which have so many secrets, recipes, and
miraculous appliances as lithography and its allies. Many of
them are offered for sale ; when, however, the money is paid
to the " inventor," it is found quite frequently that such re-
cipes, etc., were known long ago. This has reference also to
secret fluids and tinctures for which it is claimed that when a
portion is mixed with the lithographic printing ink we are
enabled to print dry from lithographic stone. It is well known

LITHOGRAPHY. 213

that such fluids consist only of glycerine, and the " secret "
certainly does enable one to print for some time without damp-
ing the stone, but with the result that it spoils the ink and
makes the inking rollers slip. To print from stone without
damping certainly has great advantages provided it can be
practically carried out. In 1885 there was a great deal said
in reference to a new kind of lithographic composition roller,
for which it was claimed that, by the use of a specially prepared
kind of lithographic printing ink, one could print dry from
stone. After a while, however, it was found that these com-
position rollers got out of order and out of shape ; they became
uneven, the inking could no longer be done in a solid manner,
and it was not long before the rollers were out of order alto-
gether. It was strange that this method of printing dry
without damping was of more practical use in printing from a
zinc plate than from stone. The uncertainty of the process
kept us for a while from further experimenting, but we did not
lose sight of it. Recently we had to print autographs which,
being in editions of 200 copies only, would not have been pro-
fitable had we printed them on a steam-press. Hence, we
printed them from zinc on the hand-press without damping the
zinc plate, and we succeeded wonderfully. This encouraged us
to apply the same to better work, and our own practical expe-
rience convinced us that this method of printing dry from a zinc
plate without damping is of a value which should by no means
be under-estimated. In order to give a practical proof of his
experience in this matter the editor inserts in his paper a page
printed (without damping) from zinc on the hand-press. It is,
indeed, a well-printed page in blue-black ink. In explanation
he says , " We added to the blue-black ink some glycerine and
a trifle of lard. Every practical printer will soon ascertain the
correct proportion. We have no doubt that the same method
of printing (without damping) from zinc will work also on a
zincographic press."

The Origin of Lithography. — The art of lithography
was finally perfected through a series of suggestions made by
accident. A poor musician, who could not afford the expense
of having his compositions engraved on copper, became curious

214 THE PRINTERS' HANDBOOK.

to know whether the notes and lines could not be etched on a
smooth stone as well as on copper. Having smoothed and
prepared a stone, his mother desired him to make a memoran-
dum of such clothes as she proposed to send away to a laun-
dress. Not finding a pen, ink, and paper conveniently near, he
hurriedly wrote the list on the stone in the etching preparation,
intending to make a copy of it later in the day ; but being
called away, the writing was allowed to remain, and, a week
later, when he resumed his experiments, and was about to
clean the stone, he wondered what effect a coating of aquafortis
would have. He applied the acid with a camel-hair brush, and
in a few minutes was amazed to see his writing standing out
in relief. All that was then necessary was to moisten the
stone with a damp cloth, ink the writing, and take off an
impression, and thus the art of lithography was born.

New Preparation for Stones. — A new compound,
called "The Universal Preparation," has been introduced in
America. It consists of pure gum arabic and a chrome salt,
and a few chemicals to keep the preparation in good order.
The properties claimed are the following : — That this prepara-
tion is not an acid, but so composed that when apj)lied it is
impossible to spoil the stone even with the grossest careless-
ness ; that it will prevent tinting, filling up, or smearing up of
the work ; that no double or repeated preparing is necessary,
as the work after one application will remain unchanged on
the stone, and that by the use of this preparation stoppage of
the press to etch or clean the same will be prevented, and the
work can be done mechanically, while running at fastest speed,
by any pressman or printer.

Prevention of Newly-printed Sheets Sticking
together in Chromo-Lithography. — Use as much thin
varnish in the ink as may be needed to obtain the lightest
possible tint, without smearing the work on the stone, if you
add a trifle of silicate basic potassa to the ink ; but care must
be taken that it is done drop by drop, as it has a very strong
effect, and will make the ink as stiff and strong as if it had
been mixed with the strongest varnish.

LITHOGRAPHY.

215

The Sizes and Weights of Lithographic Stones.

Printing Surface.

Size of Stone
in inches.

Average
weight
in lbs.

Demy 8vo . . . .
Imperial 8vo
Demy 4to . . . .
Royal 4to . . . .
Crown Folio
Large Post Folio .
Imperial 410
Demy Folio . . . .

Foolscap

Half Royal . . . .

Crown

Half Imperial .
Large Post . . . .

Demy

Royal

Elephant

Double Crown .

Imperial

Double Demy .
Double Royal .
Quad. Crown .
Double Elephant .
Double Imperial
Quad. Demy
Quad. Royal
Quad. Double Crown
Quad. Imperial .

9x7

12 X 10

14 X 10

14 X 1 1

16 X 12

17 X 11

17 X 13

18 X 12

18 X 14

20 X 13

21 X 15

22 X 18

106

24 X 16

125

24 X 18

130

26 X 20

165

28 X 20

178

30 X 20

191

32 X 22

224

36 X 24

294

40 X 28

394

40 X 30

422

42 X 28

414

43 X 33

516

48 X 36

648

54 X 40

834

60 X 40

900

62 X 42

1016

Hints for Transferrers. — A correspondent of the
" American Lithographer and Printer " makes the following
valuable suggestions: "As a draughtsman and transferrer of
considerable practice, may I be permitted a few words in favour

2i6 THE PRINTERS' HANDBOOK.

of the roller in bringing- up crayon and line work on stone ? I
always see that the transfer ink is of good quality, kept fresh,
and never allowed to harden upon the roller. If the work is
transferred to stone and appears weak, wash with clean water ;
then, if practicable, heat the stone slightly and allow it to lie
without gum about two hours longer. This I have found
always gave much better results than any manipulation with
sponges could effect. Let any transferrer use a good magni-
fying glass and he will observe extremely minute fibres charged
with the ink, which leave the sponge and adhere to the ink
already on the stone. These fibres are unaffected with water ;
the acid burns them away, but leaves the ink adhering to and
making larger the dots of the crayon drawing. Hence the
drawing is made heavier and its delicacy of tone injured. A
substitute for sponge maybe had in a piece of fine woollen cloth,
or, better still, a piece of uncoloured silk. These have not the
same tacky qualities as the sponge, but after being used
several times have to be cast aside, owing to the glazing of the
ink upon them. Having tried them and several other methods,
I always found the roller to be the quickest, cleanest, and in
every respect to give the best results."

Litho-Bronze Printing. — It is at times required to
print in bronze, at short notice, both sides of ball programmes
and similar work. In ordinary procedure, one side would be
allowed to dry before the other was printed, but in the case
supposed there is no time for this. The secret is to employ
drawing-paper or ivory cards, which are not very absorbent
of ink. The stone having been made up to work both sides
at once, a stiff ink is employed, and the cards printed and
backed before the bronze is applied. This will be found quite
effective and more simple than bronzing one side and then
printing and bronzing the other. The second printing, in the
latter case, would be sure to force the ink through the first
applied bronze and necessitate re-bronzing, while in the mode
we recommend there is sufficient ink left (despite the set-off
taken from it) to hold the bronze, and consequently one
bronzing is all that is required.

LITHOGRAPHY. 2 1 7

Hints for Lithographic Printers. — Lithographic
printing, to be successful, requires great experience and long
practice, and practice cannot be taught ; but we will give
here a few theoretical instructions, which, when exactly ob-
served, will give the printer the necessary practice very
quickly, and we are sure many of our readers will thank us
for this, because they will find here reasons for this or that
which they see every day without knowing the why and
wherefore of it. Of course, the perfectly posted practical
man will say he knows all this ; but there will be these few
against the great mass who do not know it. We see printers
in great number who do not know what is a good or what is
a bad impression. It is a shame here to say this, but never-
theless it is the truth. A good impression is when a printer
makes a clear, sharp, bright impression from a drawing or
transfer as the work is on the stone. Some very good printers,
and we know a few of them, make even a better impression
than the work that is done by the artist or transferrer. Those
who do not understand us will say this is impossible ; but
it is not. The first-class printer knows how to handle his
roller in such a manner that he is able to deepen the colour
on one part of the drawing and lighten it up on another.
When you commence to print on a good drawing or a good
transfer, use a regular medium ink, neither too stiff nor too
thin, and observe the following rules: — Put on a pressure of
about twelve pounds with your hands on the roller, the weight
of the roller not included; and observe that bearing heavier
on the roller fills up the work, while bearing lighter on it takes
the ink off the stone or drawing. A light pressure gives only
a little ink to the work on the stone, and no pressure at all
with the roller takes some ink away that has already been
applied. Slow rolling overloads the work on the stone.
Quick rolling takes the ink away, and takes the work off the
stone. Slow rolling and heavy pressure on the roller give all
the work more strength. In doing this, use only a little ink
on your roller, and keep this in remembrance. When every-
thing is in good order, this manipulation is the best. Quick
rolling and light pressure on the roller sharpen filled-up work
without any other help than that of the roller. If the work

21 8 THE PRINTERS' HANDBOOK.

is very closely drawn, use a stiff ink. If the work is very
weak on the stone, use a thinner ink, rolling slowly and with
a medium pressure. In the summer-time, when the stones
are warm, use only stiff ink ; thin ink in a warm temperature
fills up the work. Cold stones are more dangerous yet.
On a cold stone use thin ink, but even then the work works
off the stone sometimes. When a stone dries too quickly, put
a little glycerine into the damping water ; even a little salt
would not hurt it. Transferrers should not do this, because
this is only said for printers on hand or steam presses. In the
foregoing instruction is given the whole theory of practical
printing, containing more than many a printer learns in a
lifetime.

Litho Decoration of Wood, etc. — The lithographic
process in connection with the decoration of wood, iron, and
other surfaces, varies somewhat in details, no two houses
perhaps working exactly alike. The transfer paper is made
by giving first two coats of starch composition, followed by
one of thin gum, after which, so as to get a perfectly flat sur-
face, the paper is rolled each way. Supposing the job to
contain lettering, it would be drawn on the stone same way as
read. Body colours are printed first, tints next, followed by
bronzes, and lastly a surface of flake white covering every-
thing up. The wood to be decorated receives a thin coat of
transferring varnish, and before it is dry the print is thereon
transferred. When the varnish is quite dry the paper is
damped at back, and after a short time it will readily come
off and leave the printing behind. A coat of fine varnish com-
pletes the job. Metal plates are treated in a similar manner,
but, to set the work, are baked before the final coat of varnish
is given.

Fading of Red Lithographic Inks. — It is a matter
of fact that red, especially cardinal lake, being an aniline colour,
will fade, as will also the usual compositions of cardinal lake
and vermilion. To obviate this difficulty, when a fine bright
red is required, by mixing a little lemon yellow, say one-
fiftieth part, with the cardinal lake and vermilion, a much finer
and brighter red is produced, and one that will not fade.

LITHOGRAPHY. 219

Autography is the operation by which a writing- or
drawing is transferred from paper to stone, presenting not
merely the means of abridging labour, but also that of re-
verting the writings or drawings into the direction in which
they were traced, whilst, if executed directly upon the stone,
the impression given by it is inverted. Hence, a writing upon
stone must be inverted from right to left to obtain direct im-
pressions ; but the art of writing thus is difficult, while, by
means of autographic paper and the transfer, proofs are ob-
tained in the same direction wkh the writing and drawing.
Autographic Ink must be fatter and softer than that used
directly on stone, so that, though dry upon the paper, it may
preserve sufficient viscidity to stick to the stone when pressure
is applied. This ink is made of white soap, one hundred
parts ; white wax, one hundred ; mutton suet, thirty ; shellac,
fifty ; mastic, fifty ; lampblack, thirty or thirty-five ; the
whole mixed in the same manner as for lithographic ink.

An Improvement in Lithographic Damping
Rollers has been made by a New York printer. Instead of
the numerous rolls of felt, flannel, or other material now used
to make up the desired thickness he interposes between the iron
core and the outer covering a thick india-rubber tube, which
renders the roller elastic, protects the metal from corrosion,
and does away with many thicknesses of flannel or felt, at the
same time keeping the roller in good shape, no matter what
sized stone maybe in use.

Lithographic Chalk. — Common or Castile soap, 1 1 oz. ;
tallow, 2 oz. ; virgin wax, 2h oz. ; shellac, 1 oz. ; lampblack,
1 oz.

How to Wash Out a Job with Safety. — A drawing
newly placed upon the stone, whether by transferring or
drawing, may be easily injured by being washed out too
cleanly with spirits of turpentine. The old composition of
turpentine, oil, and gum-water, shaken up into a froth, was
correct in principle and easy enough in practice, though

220 THE PRINTERS' HANDBOOK.

rarely to be found in use at the present day. Its only draw-
backs are that it requires a separate bottle to keep it in, and
necessitates the foresight to prepare it. As all lithographic
printers have the materials at hand, the same results may be
obtained by the addition of any kind of oil, in the ordinary
way of washing out. Proceed thus ; — Roll in the work, if
the ink is dry, and then apply gum-water. Throw a few drops
of oil upon tht wet stone, and then a few drops of turps ; then
rub it with a rag or flannel until the ink is dissolved. If it
be necessary to give it much rubbing, add a little thin gum-
water from time to time, to prevent the stone from getting
dry. The office of the materials may be thus stated : the
turps dissolves the ink, the oil preserves the necessary fatty
character of the drawing, and the gum-water keeps the rest
of the stone from contracting scum or tint. This is a safe
method, and in no way injurious.

Preparations for Zinc Plates. — There are few litho-
graphic printers who have not understood that zinc plates may
be used as substitutes for stones in lithography, but the
majority of them have no knowledge of how they are pre-
pared for printing. Lithographic stones are sensibly porous,
and are equally ready, when clean, to take up water or grease.
Zinc plates, on the contrary, are practically too dense to re-
ceive any but a superficial application of either grease or
water; hence it becomes necessary to produce upon them an
artificial coating having a distinct affinity for gum and water,
and a quality of resisting the encroachment of the fatty ink.
This desirable quality is best secured by a solution of nut
galls, applied with a brush, followed by gum-water, or,
according to the practice of some workers, the gum may be
mixed with the galls. Make a decoction of the best Aleppo
galls by steeping 4 oz. in 3 quarts of water for 24 hours, and
then boil up and strain. The nuts should be first broken up
small. Then take —

Decoction of Galls t pint.

Solution of Gum (thickness of cream) i „

Solution of Phosphoric Acid 3 drachms.

LITHOGRAPHY. 221

Another Etching Solution, much used among Ger-
man printers, may be made as follows : —

Nut Galls, bruised 1-j^oz.

Water 1 pint.

Nitric Acid 2 drachms.

Acetic Acid 4 drops.

The galls are boiled in the water until it is reduced to one-
third its bulk. To the strained liquor the acids are added.

Both these recipes are doubtless very good. Their value
lies in the nut-gall solution, however, and that may quite
effectually be used alone. The gummed plate must be dried
quickly by artificial heat ; the ink should be applied by the
roller while the gum is dry, and when fully blacked the
water should be sprinkled over it, and the rolling con-
tinued, with occasional sprinkling, until the plate becomes
clean. It is then ready for printing in the ordinary manner
of lithography. A lay-mark may be made with a silver coin.

Preserving Drawings on Stone after Printing. —
It is too often the practice in lithographic printing offices to
take but little notice of the stone when the first order has
been executed, but if there be only a remote chance of its
being required again means ought to be taken, as far as
possible, to insure that the stone be in fair printing condition
when another edition is called for. The stone may not be
wanted again for months, or even years, but the ordinary ink
may become so dry in a few weeks as to become insoluble in
turpentine, and to have lost its power of resisting the adhesion
to it of water. Hence the necessity of preparing it in some
manner that will permit of the removal of the ink by turpen-
tine, so that the stone will be in a similar condition as when
first printed from. Drawings may be preserved by the use
of the following ink, to which some recommend the addition
of soap ; this, however, is not only quite unnecessary, but
may prove really mischievous : —

Ordinary ink, as bought from the maker... 2 oz.

Tallow 2 „

Beeswax 4 v

222 THE PRINTERS' HANDBOOK.

The tallow and wax are to be melted, and the printing-ink
added a little at a time until dissolved. When about to be
used, a small quantity must be ground with turpentine until
of the consistency of ordinary printing-ink. Wash out the
drawing with turpentine in the ordinary way, and roll-in with
the above ink until the drawing shows clearly, using a small
quantity of gum-water on the stone to keep it quite clean.
Set the stone aside for a few hours until the turpentine has
quite evaporated, and then gum-in.

Another Method. — Roll in the stone with ordinary
printing-ink. Dust with powdered resin and allow time for
the ink and resin to incorporate and become hard. Take a
spoilt impression of the job, and gum over the back of it with
gum-water, lay its gummed side to the stone, and pull
through the press. Gumming the paper instead of the stone
will more effectually exclude the air, and thus prevent
" oxidation " of the ink, for which " drying " is only another
name. If the stone is to be laid by in a very dry place, the
addition of a little glycerine to the gum will prevent its
cracking. It is better than sugar, molasses, etc.

How to use Lithophine. — Lithophine is a new material,
of American invention, said to make the drawing more perma-
nent upon the stone, and may be applied to work partially
worn out, or to transfers newly laid down when they show a
little tendency to weakness. It may also be used upon any
work as a precaution in preventing deterioration. We can
recommend the following method of using it, in preference
to that given in the instructions sold with it, though it does
not differ from it in principle : — Gum in the work with gum
that is not very thin, and dab it over with a cloth to prevent
it overlying the ink. Allow the gum to dry, and then wash
out with lithophine, which must be well shaken up, and allow
it to evaporate on the stone, which it does rapidly. The gum
must be then washed off with plenty of water, and the job
roUed-up. Treated thus, it has the maximum effect, consis-
tent with freedom from scum or tint, upon the stone, to
which it is somewhat liable if carelessly used.

LITHOGRAPHY. 223

How to use Soap as a " doctor." — It sometimes
happens that a drawing by accident gets over-etched, or
some acid gets dropped upon it, so that the work so affected
will not receive the ink from the roller. The use of lithophine
in this instance may or may not be instrumental in restoring
it. Rubbing-up with gum and retransfer ink, or ink mixed
with palm oil or gold size, will perhaps only temporarily
improve it. When the roller is applied, the ink comes away
from the weak place because the ink fit for rolling-in the job
is stronger than that applied with the rubbing-up rag. Not
only so, but the rubbed-in ink has not penetrated to the
stone sufficiently to have a firm hold. Strong litho-writing
ink is sometimes used with the rag in a similar way, and in
extreme cases a strong solution of soap is carefully applied
with gum to keep it off the clean part of the stone. The
mode of applying soap is wrong in principle ; for being
soluble and used with gum-water its tendency to penetrate
the stone is almost greater where the work is not than where
it is, because it is like applying soapy water to a place
partially greasy. It is possible, however, to use the soap
remedy in a way at once more scientific and effectual.
Having temporarily restored the work by rubbing it up in
gum with ink and oil, gum-in carefully, and dab it over with
the damping cloth in such a manner that the gum is left on
the clean stone, but not on the lines of the drawing. Allow
the gum to dry hard, so that it does not feel clammy to the
fingers. Wash out the ink clean with turpentine, with the
gum still dry upon the stone. Now take a piece of dry soap
and rub it well into the weak place. It will not dissolve the
gum, which therefore protects the stone from its action,
excepting where it has been inked. Remove the superfluous
soap by rubbing it with a rag charged with oil. Dissolve
the gum and roll-up, when most likely the work will be
restored. If not quite so, repeat the operation. This method
is very effectual if properly used, and produces no scum to
be cleaned away.

A Lithographic " Wrinkle." — The "American Litho-
grapher " has awarded a prize of one hundred dollars for the

2 24 THE PRINTERS' HANDBOOK.

following " wrinkle," the sender of which thus describes his
novel and simple discovery : — " All our lithographers, printers,
and pressmen who have ever printed from zinc in the litho-
graphic press are aware that, despite the greatest care, the
work upon the zinc plates will occasionally smear or tint.
In a word, the printer is unable to keep the work clean upon
the plates. Almost by accident a remedy has been discovered.
One day, while working overtime, I was printing from zinc.
My damping water had been used up, and I was too lazy to
go for more. Near at hand was some tea which I had made
for drinking, but had found it too strong for my taste. It
was without milk or sugar. Because of pure laziness, I used
this strong tea for damping rather than take the trouble to
go to the hydrant for water. To my surprise, after using the
tea, the plate, which before had smeared very much, became
gradually cleaned, until the transfer was as nice as could be
desired and as clean as when the plate was first made. Then
my fears began to stir lest through continuing the tea for
damping the work would gradually get too weak, or, as we
say, ' too sharp.' I therefore very closely watched the work,
but my fears proved groundless. From that time I have
used only tea for damping and have had no trouble, but
always made good work. I have also found it useful in
printing from stone. My discovery I have heretofore kept
sacred as a secret. As to the reason for the effect of which
I have spoken, I cannot speak. You probably know more of
the chemical properties and action of the tea, and probably
can account for the matter." The editor adds : "Tea contains
from six to twelve per cent, of tannic acid ; it is therefore
very probable that the above writer is correct in all his
statements."

Zinc Plates as Substitutes for Lithographic
Stones are now in common use, and an ingenious and cheap
method of producing a stony surface upon a metal plate, to be
used in a lithographic press instead of the ordinary stone, has
recently been patented. Slacked lime is added to a water-
bath, which is afterwards treated with carbonic acid. A
saturated solution of bicarbonate of lime is thus produced,

LITHOGRAPHY. 225

which can be drawn off as a clear liquid. A carefully cleaned
metal plate is moistened with this liquid by a spray apparatus,
and then dried by heat. The operation is repeated until a
deposit of limestone firmly adheres to the plate, when it is
ready for receiving the lithographic ink.

The "Glazing" of Litho Rollers is accomplished
by rolling them up in a colour, such as orange-lead, that
dries quickly either with or without driers, and varnish.

Lithotint. — A process of "lithotint" was patented by
Hullmandel in 1840. The drawings were made in washes
upon the stone, covered with a solution of resin, pitch, and
spirits of wine, and when dry the stone was etched with
nitric acid in gum-water.

New Process of Gold and Silver Printing in
Lithography. — By this process the separate printing of
bronze can be saved, without new machinery, without any
extra expense, and without any other workmen than the
practical artists and printers who have the necessary brains
to understand a plain thing. The process is only a matter of
knowledge, requiring no special machinery or materials. The
modus operandi is as follows: — Suppose that a show-card,
label, or anything similar, is to be printed in colours, say, for
example, silver, gold, yellow, red, blue, black, and flesh
colour ; these seven colours can be done in five printings.
The artist finishes the yellow, red, blue, flesh and black plates
in the usual way ; but before etching he adds the gold plate
to both the blue and the original plates. No matter if this
comes in contact with the other work ; remember that the
blue and gold are to be done at one printing, and also red
and gold. Add to the original yellow and flesh-colour draw-
ings the same work that would be necessary for the silver
printing ; for the same manipulations have to be made as
with the red and blue and gold plates. Leave the black as
originally drawn. In printing do not use any dryer in the
colour. Print the yellow first, in the usual way, and let the
sheet get perfectly dry : the time will vary according to the

226 THE PRINTERS' HANDBOOK.

ink and paper used. Now print the flesh colour with, in
winter, mostly No. 2 varnish ; in summer, mixed with No. 3
and o. Let the impressions lie, according to the paper, from
one to five hours, and then run them, for the silver bronzing,
through the bronzing machine, or bronze them by hand when
there is no machine. Vou will now find that where the flesh
colour is done on the clean pape^ the printing is dry and will
refuse to take the bronze, and where the flesh colour is
printed over the yellow the bronze will stick solid, even if
done on the second day. It is only required that the bronzing
shall be done at the right time ; but this is not a matter of
so much anxiety as one might suppose. As in all printing,
it requires only ordinary care. The impressions have to be
dusted off in the usual manner, and then the third printing
should be the blue. Let the ink dry again, and then print
the red. The same care and manipulation should be had
over again as stated with regard to the silver. After the gold
is dusted, print the black. This is the full process, given so
plainly that we think every artist and printer can understand
it. The advantages are as follows : two printings are saved,
and the customer may be charged with the full seven print-
ings, as this is an advantage to the lithographer from a know-
ledge of a special thing, and has nothing to do with one's
obligations towards the customer. When we take into con-
sideration that bronze is desired in nearly all lithographic
work — that there shall be gold or silver seen on it, as the
customer says — and when we can do it, as now, without
incurring any extra expense, it should be easy to understand
that this is an advantage which ought not to be undervalued,
apart from the fact that bronze printing is generally charged
the price of two printings.

Tympans for Litho Presses. — Tympan leather is
largely used by lithographic printers. The hides are some-
times dressed whole, being usually hides set apart for that
purpose ; shaved hides may be used if they run stout. The
hides should average from twenty-five to thirty-five pounds
each. A writer in a leather-trade journal says that, in
practice, he has found it the best way to cut the bellies off

LITHOGRAPHY. 227

in the rough state, that is to say, before they are soaked
down. Great care must be taken in selecting the hides
for tympans, as they must be quite free from flaws or cuts
on either side. It is better to select good grown hides, as
this gives the advantage of cutting large-sized tympans,
and the veins are easily got out without reducing the sub-
stance of the leather. From a well-grown hide tympans
can be cut close up to the neck. When the hides are
dressed whole, that is, with the bellies on, there is not the
possibility of getting the stretch out, which is very necessary.

Another Method to Protect Drawings on Stone.
— The protection of drawings on stone is a question in all
lithographic houses. The rule is to roll the stone up with
colour and gum it ; but, excellent as this plan is, the gum
is sometimes liable to scale away, leaving the stone exposed
to damage. A Paris paper gives a new plan to the same
end, which has been applied with great success. The
preservative compound is composed of the following in-
gredients:— 150 parts spermaceti, 140 parts Burgundy pitch,
90 parts olive oil, 50 parts white wax, 30 parts Venetian
turpentine. These to be melted together. The composition
is applied to the stone with a roller. It covers the stone and
protects it in all temperatures, even if exposed to the weather
out of doors.

Covering Machine Damping Rollers. — The best
material for this purpose is known among tailors and drapers
as moleskin. It is a thick twill cotton material, about one-
sixteenth of an inch in thickness, commonly, in use for cloth-
ing by engineers and other mechanics, and valued for its
washing qualities. It may be got of almost any draper in
the country, or of the warehousemen in large towns who
supply tailors. For the purpose under consideration, it should
be chosen of white or light stone-colour. Lay a piece of it
out upon a smooth board, and with a sharp knife and straight-
edge make a clean even cut across the piece, as one may be
sure that the draper has not cut it straight enough with his
scissors. Take a narrow piece thus cut off and accurately

2 28 THE PRINTERS' HANDBOOK.

measure the roller round its felt or flannel undercovering.
Measure it at each end, so as to be sure of making the new
cover fit with accuracy. Then cut a strip the proper size
and length for the roller. Now, with a stout waxed thread,
proceed to sew it on the roller, putting the needle in on the
under side of the edge and pulling it out on the upper side,
taking hold of about one-eighth of an inch of the stuff at each
stitch, carefully pulling the thread in such a manner as to
make the edges meet neatly, but not to overlap. After sew-
ing an inch or two, it will be seen if the cover is the proper
size. If too small, cut another ; if too large, take it off and
cut a strip off it. When sewn on, secure the ends something
like ordinary roller-ends. Previous to being put in the
machine, they should be thoroughly wetted with boiling
water, as, when the moleskin is quite new, it has a tendency
to repel cold water, while it takes hot water readily. One of
these rollers will damp nearly as effectually as two covered
with canvas, and will last many times as long.

Cleaning Lithographic Rollers. — If the ink has dried
on hard, soak the roller in turps for a day or two, then scrape
off the ink with a knife, wash with turps and wipe with a
clean rag. A little salt used in conjunction with the turps
will assist the operation.

ENGRAVING AND PROCESS WORK.

THE Oxidation of Zinco Blocks. — A correspondent
of the " Austrian Printers' Gazette," says that with zinco-
types the greatest possible cleanHness is important, as oxidation
occurs rapidly in this kind of engraving. Zinc oxidizes
quickl}' when exposed to the air or to alkaline liquids ; when
once formed, it freely develops under the influence of the soda
potash. He recommends the use of benzine or spirits of tur-
pentine, drying with a rag, and then placing- the zincotype in
a drawer. When washing formes, dirty water or such as has
already been used is often taken. This latter always contains
potash, petroleum, spirits, and dirt. This is another cause of
rusting. Another habit is no less injurious. When the potash
does not act quickly enough, some washers are accustomed
to pour spirits of turpentine on the brush or on a rag and to
rub the rebellious spots, without taking the precaution, how-
ever, to use a little potash and clean water afterwards. It
has been ascertained by chemists that spirit of turpentine,
especially when old, absorbs oxygen from the air and ozonizes
it — that is, it transforms it into an active and positive oxide
that acts very energetically — so that any spirit remaining on
a forme not only favours, but actually excites the development
of the oxide on the type.

Collotype. — This process is a method of printing from
gelatine, glue, and similar " colloid " materials, to which a
pigment is added. The word is derived from the Greek
KoWoc, glue. The process is called in French heliotype or
phototypie, in Germany lichtdruck.

230 THE PRINTERS' HANDBOOK.

Substitute for Sulphuric Acid in Etching. — The
use of sulphuric acid for etching on zinc and copper is con-
nected with so many disadvantages, and so injurious to heahh,
that a substitute has long been sought for. Herr Kratzer,
Leipzig, recommends the following mixture for the purpose.
Forty-five grammes of fine powdered gall-nuts are put in 600
grammes of water, and the mixture boiled down to one-third.
It is then filtered through a linen or felt filter, and three
drops of concentrated nitric acid, as well as from four to five
drops of muriatic acid, are added to the filtrate. This mixture
is suitable especially for zincography. For fine work it must
be somewhat diluted, and left only for a few minutes on the
zinc plate. The latter is tnen carefully rinsed with water,
and covered with a fresh and diluted solution of gum arabic.
For treating copperplates, 150 grammes of fuming hydro-
chloric acid are diluted with 1,050 grammes of water, and a
boiling solution of 30 grammes of chlorate of potassium in
300 grammes of water is added. If weaker parts are to be
etched, the solution may be diluted still further with from
1 ,050 to 2,000 grammes of water, whilst the deeper shades are
produced by the addition of a stronger liquid or by exposing
the plate longer to the action of the solution.

New Engraving Machine. — With the invention of the
pantograph many easy methods of drawing and reproducing
linework became possible, and a new adaptation is in the form
of an engraving machine, capable of copying on metals, ivory,
and glass, whether they be of flat, bevelled, or cylindrical
surfaces. In this machine the style is guided by the right
hand of the operator, while the left hand regulates the depth
of the cut by means of a milled nut, which enables the operator
to gauge the depth or lightness of the cut, or keep it constant
at will. The cutter runs at a high speed, and the section of
the cut may be of any form, moulded, semicircular, bevelled,
rectangular, or even dovetailed. For purposes of engraving
or finishing brasswork a simple, flat double-edged drill gives a
clean, brilliant cut free from burr, which may be either left
bright or coloured by suitable solutions as wanted. When it
is desired to fill the cut with wax, a long pointed drill is used,

ENGRAVING AND PROCESS WORK.

231

which gives a cut with steep sides, and leaves the bottom of
the cut sufficiently rough to hold the wax. Lines are worked
by a simple point tool in the cutter spindle, the style being
moved along fixed straight guides, and all lettering may be
done at the same setting of the machine. The machine
was originally invented by a firm in Leicester, for en-
graving figures and letters on lenses and other scientific
instruments, but its undoubted capacity has been adapted to
a great variety of work, including name-plate engraving, em-
bossing seals, dies and moulds, marking and numbering in-
struments and tools, dividing and engraving dials, scales for
gauging and measuring instruments. The machine is also
equal to the performance of engine-turning and profile work,
and by the use of suitable milling tools, in conjunction with
the dividing apparatus, wheel-cutting and similar work may
be executed. The engraving, of course, is not of the same size
as the pattern, and the drawing may be varied from one-fourth
to one-sixteenth of that of the copy.

Steel-Facing Photogravure Plates. — The number
of good impressions that can be taken from a copperplate are
necessarily limited, and the vexatious process of multiplying
the original by the galvano-plastic process has been super-
seded by the process of steel-facing the plates. When a
copperplate is placed on the cathode, suspended in a solution
of sesquichloride of iron and subjected to the action of the
galvanic current, it will in a short time be covered with a
delicate and lustrous cuticle of iron hard as steel, from which
many thousands of impressions may be taken, equal in every
respect to copper or steel-faced plates. The process is
carried on in a peculiarly arranged dark trough with a three-
cell zinc carbon battery, and the electrodes are placed verti-
cally. The iron solution is made suitable to the current
itself. One part of chloride of ammonium is dissolved in ten
parts of water, and in this solution are placed iron plates as
cathode and anode. By chemical action the chlorine unites
with the iron of the anode, forming sesquichloride, which
remains dissolved in the bath, which within a day or two will
assume a greenish colour, and owing to the formation of

232 THE PRINTERS' HANDBOOK.

hydrate of oxide of iron, consequent on its contact with
atmospheric air, its surface acquires a red scum, and a
metallic mirror will make its appearance on the cathode. The
bath is now sufficiently saturated, and in place of the iron
cathode, the copperplate, having been previously cleaned in a
solution of caustic potash, rinsed, and any adhering alkali
neutralized with weak sulphuric acid and again washed and
dried, is substituted. The steel cuticle can, when worn by
long usage, be easily removed by laying the plates in sulphuric
acid diluted so that the copper will not be affected by it.
The tendency of the acid is to detach the steel from the
copperplate.

Photo-Etching on Wood. — A Russian inventor has,
by a very ingenious process, extended the art of photo-etching
to boxwood blocks. The block is boiled in two separate
solutions, by which the pores are filled with insoluble carbonate
of copper. It is then polished on the surface, coated with a
solution of asphalt on the back and sides, and the face is
covered with a gelatine film. The photograph is then taken
on the block, and the soluble portions of the gelatine having
been washed out, the remaining surface is coated with asphalt.
The block is then placed in strong nitric acid for an hour, and
afterwards for the same period in sulphuric acid, which
changes the unprotected portions into nitro-cellulose.

New Process of Engraving. — A new method of
producing letterpress engravings has recently been perfected.
IBriefly described, the process is somewhat as follows : — A
flat, highly polished steel plate is coloured black and covered
with a soft white composition. By means of tools made for
the purpose — somewhat like those used for wax engraving
— the design is drawn through the composition, exposing
the dark background. When finished the drawing appears
exactly as it would on paper, the only difference being
that the lines are sunk through the white surface. The
intao-lio or matrix thus formed can be placed in an ordinary
stereotype casting-box and cast. The hot metal will run
into every line and produce a perfect reverse or relief-line

ENGRAVING AND PROCESS WORK. 233

engraving. If the composition has been scraped to a proper
thickness no routing will be necessary, and the cut will have
as much relief and as sharp lines as one made by any other
process. The composition is soft, and the sketching may be
done with a lead pencil. Tracings can be made on it, or the
artist can work directly on the plate ; ruling can be done
with either a T square or a ruling machine. Being strictly
a graphic process no experience as an engraver is necessary.
Of course, the operator cannot make a better cut than he
could draw on paper, but with a little practice he can do good
work on the plates. No chemicals or photographic apparatus
are requisite. Not only is there a saving of space, but there
is a freedom from disagreeable smells and dirty accumulations.
The material is prepared for the artist's use, and when the
drawing is finished, the stereotyper's aid is alone required to
have a perfect printing block. If there is a stereotyper at
a convenient distance the artist will need only a set of tools
and as many plates or parts of plates as he wishes to make
engravings. The saving of time is enormous. It takes but
little more time to draw on the plates than to draw on paper,
and the cut can be made ready for the press in half an hour,
when the drawing is finished. In all other processes fast
work is a matter of hours. The drawing is right-handed, not
reversed as required for every other process. Reversal often
alters the whole aspect of the cut. Having his work before
him just as it will print, the artist can do it much better, and
his idea cannot be altered or spoiled by an incompetent
engraver. The rapidity with which cuts can be produced has
made newspaper illustration more practicable. While pecu-
liarly adapted to rapid work, fine commercial cuts can be
made by the process. The most delicate lines and the finest
cross-hatching or shading can be reproduced.

Etching of Iron. — Use the following mixture : Hydro-
chloric acid, one pint ; water, one pint ; concentrated solution
of antimonious chloride, one drop. The last ingredient is
added to prevent rusting of the etched parts. Soft and fine-
grained metal is more easily acted on than any other sorts.

234 THE PRINTERS' HANDBOOK.

Etching by Process. — It is important for zinc-etchers
to know that no more acid solution is necessary than scarcely
enough to cover the plate. By constantly moving this acid
solution over the plate, which is best effected by having the
containing vessel in a swinging position, the air can all the
time strike the plate. The acid must never cover the plate ;
it must only pass over it from the motion of the plate itself
or the containing vessel. This makes a quicker and more
even etching than by the old plan.

Recipe for Engraving on Glass. — Cover the surface
of a sheet of glass with a concentrated solution of nitrate
of potash, by simply placing the glass flat on a table or
in a shallow pan, and pouring the solution upon it. Then
along the edges of the sheet place a platinum wire, keeping
it immersed in the solution, and place it in communication
with one of the poles of a secondary battery. Having done
this, let another fine platinum wire be joined to the other pole,
and incased in an isolating substance save at its point. With
this wire trace on the glass the design required ; a luminous
streak will appear everywhere the wire touches, and however
quickly it may be moved the design will be cleanly engraved
on the glass. If the drawing or writing be done slowly the
lines will be engraved more deeply. Their width depends on
the diameter of the wire at its end : if it be reduced to a fine
point, the work may be performed with great exactitude.
The metallic thread conducting the electric current thus
becomes transformed into a special graver for glass, and in
spite of the hardness of the substance, the operation requires
no effort, for the corroding force is furnished by the action of
the current upon the saline solution. Either pole maybe used
for engraving, but it requires a weaker current to engrave with
the negative pole. If instead of a plane surface it is desired
to engrave on a curved one, the same result may be obtained
by thickening the solution with a gummy substance, in order
to make it adhere to the glass, or by turning the object in a
basin containing the solution, so that a freshly wetted surface
may be continually presented to the operator. These remark-
able results have been obtained by means of secondary batteries,

ENGRAVING AND PROCESS WORK. 235

but for continuous work any other source of electricity may
be made use of, provided it has volume and intensity enough.
Thus a pile of a good many Bunsen's cells, or a gramme
machine, or even an electro-magnetic machine, with alternate
position and negative currents, will do.

Etching Fluid for Steel. — The following is highly
praised for being an excellent etching fluid for steel : Mi.x one
ounce of sulphate of copper, one half-ounce of alum, and one-
half a teaspoonful of salt reduced to powder, with one gill of
vinegar and twenty drops of nitric acid. This fluid may be
used for either eating deeply into the metal or for imparting
a beautiful frosted appearance to the surface, according to
the time it is allowed to act. Cover the parts necessary to be
protected from its influence with beeswax, tallow, or some
other similar substance.

Process for Transforming Zincos into Engraved
Plates. — The process in question, says " L'Imprimerie,"
permits of the rapid transformation of ordinary zincos into
engraved plates, and even into copper plates ; that is to say,
a zincographic plate, the bitumen of which is frequently
destroyed in working, may, by this process, be replaced by an
indestructibleengraved plate, capable of furnishing an unlimited
number of copies. The details of the operation, which will,
doubtless, interest our readers, have been communicated by
Captain Beny to the Societe de Photographic, and are briefly
as follow : — Take an ordinary zincographic plate, the bitumen
of which is already inked, pass it quickly through a solution of
nitric acid, clean it with a soft brush, wash thoroughly, and
plunge it into a copper bath, where it should be allowed to
remain five minutes. The zinc becomes coated with copper,
which adheres to every part left unprotected by the bitumen.
The heavier parts of the image contract, and are even rendered
finer by the action of the copper bath. When the whole
surface of the zinc has assumed a fine red, the plate is with-
drawn and placed in a basin containing a little pure benzine.
The bitumen is now removed with a brush from the surface of
the plate, and the drawing shows a bright white on a sombre,

236 THE PRINTERS' HANDBOOK.

copper-red ground. When the zinc is freed from the varnish
which remained on the drawing, the surface is thoroughly
washed in order to remove every trace of benzine, and after-
wards rubbed with a rag or a sponge in a tub of water. This
done, the plate is placed, without being wiped, in the nitric
acid bath previously used. It will then be seen that the naked
zinc of the image is alone bitten, the coppered surface having
resisted the action of the acid. At the end of fifty to sixty
seconds a fine plate will have been produced, without either a
drawing or a positive cliche. The making ready and inking
are done in the ordinary manner. A more prolonged biting,
demanding, besides, on the surface of the zinc, a thicker coating
of copper, strengthened, if need be, at the battery, will give
zincos resembling copper plate. In this case, in order that
the various parts of the bitumen may be preserved intact, they
should be thoroughly inked before coating the naked zinc.
As the copper afterwards resists the acid during the process
of engraving, all defects in the zinc will be obviated. This
process is, therefore, valuable for obtaining thickly-coppered
zinc plates at a much cheaper rate than those made entirely
of copper.

Typographic plates may also be obtained by this process.
For this purpose positive cliches, or very dark drawings on
translucent paper, are used, the manipulations being the same
as those before indicated.

Engraving with Mercury and its Salts. — It is
known that, when mercury is deposited on a metal, fatty
lithographic ink will not "take" upon it when an inking-
roller is passed over it, and that the black adheres to the un-
touched parts of the metal. If a well-polished and clean
piece of zinc be taken, and a design be traced thereon with
mercury, the design will appear in brilliant white upon the
grey background of the zinc. After tracing the design, an
intaglio plate can be obtained by plunging the plate, without
being coated with varnish, into a bath containing lOO parts of
water, and 2 parts, at least, of nitric acid. The action of the
acid is very rapid, and for a long time only attacks the parts
touched by the mercury. When deep enough, it can be used

ENGRAVING AND PROCESS WORK. 237

for lithographic work. If, instead of nitric, hydrochloric acid
is used, the contrary effect takes place. The unaffected zinc
is strongly attacked, and the traces of the mercury give a re-
lief plate which can be used for ordinary typographical work.
If the operator does not wish to draw upon zinc, the design
can be traced upon paper with a salt of ipiercury. The sheet
of paper being then applied for two hours to a plate of zinc,
the drawing is sharply reproduced, in white lines of amalgam,
on the grey surface of the metal, just as if it had been traced
directly. The same result is obtained if the design is traced
upon paper with a sticky substance (ink containing gum or
sugar), and if it is dusted over a mercury salt in fine powder.
On dusting off the surplus and applying the sheet containing
the design to a plate of metal, the same result is obtained.
The same result is obtained if a newly-printed proof is used,
and is dusted with mercury salt while the ink is still wet and
sticky. All the lines thus reproduced are chemically engraved,
as has been described above. The same results are obtained by
dusting with mercury salts a photographic carbon print con-
taining a gummy substance, and the effect of half tints is even
secured. Biniodide of mercury is the salt to use.

A New Process of Illustration. — An effective process
of reproducing wood-cuts, engravings, and other printed
matter direct from the original, it can readily be seen, must
be an exceedingly valuable innovation. The manifold repro-
duction of such matter has been attempted a number of times,
with different degrees of success. It may, therefore, be
interesting to describe a method that has been in use on the
continent. The object to be reproduced is first well saturated
with a protective solution composed of glycerine, tannic acid
and water, then well rinsed with water, and the parts to be
reproduced treated with autographic ink by means of a suitable
inking roller, or in any other appropriate manner. In con-
sequence of the previous treatment of the original with the
protective preparation, ink will only adhere to those parts
covered by printers' ink, whereas those parts left free will not
take up any quantity of ink. The positive so produced or
written, or drawn in autographic ink, is now laid on a brightly

238 THE PRINTERS' HANDBOOK.

polished metallic plate or lithographic stone, and repeatedly
passed through the rollers of a press of peculiar and adapted
construction, so as to transfer the autographic ink of the
positive to the plate or stone, thus producing a negative copy.
The protective mixture of glycerine, tannic acid and water is
then applied, and the plate or stone provided with ink by
means of the inking roller. It is preferable to ink the plate
or stone by passing it repeatedly between an upper inking
roller and middle roller with which the press is provided. The
paper, or other matter to which the ink adhering to the
negative is to be transferred, is now placed over the negative
and passed between the pressure rollers of a suitable press,
whereby the exact and true copy of the original will be found
reproduced. After the paper has been removed, the plate or
stone is again inked ; paper is then applied to the surface of
the same, and a second copy produced in like manner as
aforesaid, and so on, so that many hundreds of reproductions
or copies can be produced, which are in all respects, it is
claimed, perfect facsimiles of the original engraving, or printed,
drawn, or written matter.

Method of Galvano-Engraving. — The new art of en-
graving metallic plates, to be used for printing and ornamental
purposes, and styled galvano-engraving, appears to possess
some peculiar advantages as a method of photo-engraving
metallic plates. Thus, to make an engraving, there are suitable
metallic plates prepared, which have the smoothness and polish
of glass, and having obtained a photographic negative on a
glass plate of the subject to be engraved, the operator next
covers one of the polished plates with a bichromated gelatine
film, places the photographic negative upon it, and exposes it
to the light. The action of the latter renders the gelatine
insoluble, so that when the negative is removed, and the gela-
tine plate washed, all the gelatine on the surface of the plate
is removed except the duplicate of the lines of the photograph,
these remaining in relief The proof is placed for some hours
in a damp place, where the lines are brought up in relief, and
after the proof has been coated with plumbago, it is applied to
a metal alloy placed in a special vessel ; the alloy is then sub-

ENGRAVING AND PROCESS WORK. 239

jected to an ordinary pressure, and, on cooling, produces a
hollow metallic plate ready to be printed. The fusible alloy
employed consists of bismuth, tin, lead, and mercury, in pro-
portions according to the degree of hardness desired. The
vessel for containing the metal has a bottom formed of a smooth,
strong metallic plate ; into this vessel the liquid metal is poured,
the gelatine proof immediately applied on the metal, and, the
whole being covered by a second smooth metallic plate, which
closes the vessel, momentary pressure is applied.

Hints on Drawing for Process Blocks. — All pen-
and-ink sketches for this purpose should be pure " black and
white." Freshly-made Indian ink should be used on thin
white and smooth card, the Bristol boards obtainable from most
artists' colourmen being well adapted for this purpose. The
lines should be firm and distinct, the depth of light and shade
being obtained by thick and thin lines respectively ; the dis-
tance between the lines also helping this effect. The drawing
should be made larger than the size intended for the block ;
from one and a half times to double the size is a good rule. A
smaller amount of work thrown into the sketch is often more
effective than an excess of pen-and-ink work. Care and at-
tention to these details, with practice, will soon enable anyone
with a knowledge of drawing to overcome any diflficulties which
might otherwise be encountered.

Process Half-toned Blocks. — A new process of pho-
tography applied to type printing, which for the first time
enables the half-tones of a photograph to be reproduced at
letterpress, is about to be introduced for practical working in
this country. Its discovery and successful operation are due
to Herr Meisenbach, of Munich, who has been employed for
six years in perfecting his process. It is not restricted to
illustrations, but is equally applicable to reproduction of type.
The value of the invention is fully recognized in Germany,
where six of the principal journals have been illustrated by it,
as well as other works. In Paris a special number of "L'lUus-
tration " was devoted to the reproduction of the chief pictures
of the Salon by the process. It is also largely used for commer-

240 THE PRINTERS' HANDBOOK.

cial work — such as business catalogues, etc. — in most of the
Continental States. At a push the necessary type-printing
blocks can be produced within six hours, but always within
twenty-four, either by the sun or by the electric light. They
can be made at what is comparatively a small cost, and are so
enduring that not less than 160,000 impressions have already
been taken from one, and the block is still in use. The process
is being introduced in this country by a limited liability
company.

Photographing on Wood. — The method here given is
taken from Dr. J. M. Eder's "Year Book." Volkmer's boiled
arrowroot paste : One part of arrowroot to 100 parts of water,
mixed thoroughly with finely pulverized flowers of zinc, is
spread thinly and evenly over the picture side of the block,
either with the ball of the hand or a camel's-hair brush, and
dried for two hours. The block is then covered with equal
parts of albumen and water, to which a little chloride of am-
monium has been added, and dried again for two hours.
Before sensitizing, the sides of the block are covered with
beeswax dissolved in benzine. Silvering is done by merely
touching a ten per cent, silver solution for 30 seconds. The
superfluous solution is allowed to drain, the block blotted off,
and dried. Printing is done with the aid of Vogel's photo-
meter, and completed when Nos. 1 2 and 1 4 have been reached.
The picture can be toned in the ordinary way, but should be
fixed in a very strong hypo bath.

Another Recipe from the same Source. — Mix pure
albumen with white lead and a little chloride of ammonium,
and distribute a few drops of the mixture over the surface of
the block. When perfectly dry sensitizing is done with an eight
per cent, silver solution for two minutes, and when dry the
block is fumed for 20 minutes in the vapours of ammonia and
then printed upon. After a slight washing the picture is toned
and fixed in the combined gold and hypo bath. This method
has been practised with invariably good results that are satis-
factory to the engraver.

ENGRAVING AND PROCESS WORK. 241

To Preserve Zincographic Etchings, etc., from
the oxidizing- influences of the air, a highly rectified oil, free
from any acid, will do good service when laid on the plates
with a light brush. A still better means of protection is the
following: — The zinc plate is first washed with turpentine, then
with a solution of potassium, after which pure water is freely
applied to it to take away any remnants of dirt or ink. This
done, the plate is quickly dried on a heated iron plate, and
when still warm, a roller covered with the ink commonly used
by zincographers is passed over it, so as to apply a layer of
ink on all the raised parts of the drawing, and to give them a
cover for protection against atmospheric influences ; or a layer
ofasphaltum which has been pulverized and diluted in spirits
of turpentine will answer the same purpose. It may also be
applied with the same effect to all electros. Hot water or lye
will take it off immediately when the plates or electros are to
be used again.

Leimtypie. — The process consists in the employment of
chromated gelatinous sheets, upon which the subject is trans-
ferred. The development is very rapid, not occupying more
than from two to four minutes. It is produced by the
application of a liquid which has the property of dissolving the
glue not covered with work, the plate being brushed either by
hand or machinery. Plates with larger whites take about four
minutes, in order to get sufficient depth, and, should it be
necessary, the whites can be cut away as in the zinc plates.
When developed, the glue or gelatine sheet is fastened on to
a zinc plate in such a manner that it is impossible to separate
them. This is a special feature of the invention. It is claimed
that the entire block is finished sooner and costs less than the
negative that is needed for zinco blocks. The inventor claims
that Leimtypie plates render all the details of the original
much more sharply than zinco blocks, because with the
Leimtypie a direct transfer on to the equal surface of the glue
takes place, and this reproduces with mathematical accuracy
all the details of the negative. On the other hand, there is
always some impurity in the manufacture of zinc which

242 THE PRINTERS' HANDBOOK.

renders the development unequal. The copy of the picture
takes place through albumen or some other medium, but
never through zinc itself, and therefore many details, as well
as the character of the work, are lost.

To Engrave on Steel. — A box, containing powdered
cupri sulph., and labelled "The Powder," is required, then
dissolve some of the powder in a small quantity of water ;
rub the surface of the steel over with a piece of wetted
soap, so as to cover it with a thin coating ; then dip the
point of a pencil into the solution, and with it write or draw
the required design on the steel. After a few minutes wash,
and the steel will be found to be beautifully and permanently
engraved.

Fichtner's Process for making printing plates by photo-
graphing directly upon zinc, copper, or steel-plate is as
follows : — A sensitive varnish is made by dissolving 5 parts of
Syric asphaltum in 90 parts of benzine, adding 10 parts of
oil of lavender and then filtering. A great deal depends upon
the quality of the asphaltum. Select those pieces which do
not melt at a temperature of 190" Fahr. and are difficult to
dissolve in turpentine. The benzine must have been purified
and perfectly free from the admixture of water. The same
holds true of the oil. A perfectly clean zinc plate is coated
with the sensitive varnish, exactly as the photographer would
use collodion. The plate is rested next upon a level surface,
in order to secure an even distribution of the varnish, and then
dried in the dark chamber. After this the photographic nega-
tive is placed in a copying frame and upon it the prepared
zinc plate, the two pressed closely together and exposed for
a period of 25 to 30 minutes in the sun, or three to four hours
in scattered light. The duration of exposure, of course, de-
pends on circumstances, and has to be determined by trial.
The photographic negative should have been transferred from
the glass plate to gelatine to prevent the reversing of the
picture. When exposed for a sufficient time, and after being
taken out of the frame, no print should be visible upon the plate.

ENGRAVING AND PROCESS WORK. 243

Rectified petroleum, to which one-sixth part of benzine has
been added, is now poured over the plate until the drawing
appears in the colour of the sensitive varnish and the open
spaces show the clean metal. After this, wash in plenty of
water and dry by the aid of a flame. The etching may here-
after be done in the usual manner with diluted nitric acid.

Wood Letter. — Pear-tree and sycamore woods are
chiefly used for cutting small wood-letter on, pine or deal for
larger sizes and blocks. If pine or deal blocks are varnished
and polished they will not absorb the ink and will print much
cleaner. The timber of the pear-tree is of a yellow colour,
and very firm and solid. The blocks with which the designs
for floor-cloths are printed are made from pear-wood. When
dyed black it can scarcely be distinguished from ebony.

Map-Engraving Wax. — Four ounces linseed oil, half
ounce each of gum benzoin and white wax; boil two-thirds.

Photo-Mezzotint Engraving. — The following simple
method is published : — Upon a polished steel plate spread a
thin coating of saturated solution of bichromate of ammonia,
S drachms ; honey, 3 drachms ; albumen, 3 drachms ; and
water, l^ pints. Let this be dried thoroughly by gentle
heat, and expose to light under a transparency. Now remove
the plate to a place in which the air is moist. The atmo-
sphere in an ordinary room contains moisture sufficient to act
upon the surface of the picture which has been printed in the
manner indicated. The preparation given above is slightly deli-
quescent, and on becoming quite dry by the application of heat
attracts so much moisture from the atmosphere as to become
more or less tacky. But the exposure to light has the ten-
dency of hardening the film, so that the tackiness produced is
in the inverse ratio of the luminous action. A large camel's-
hair brush is now charged with a mixture of the two finest
kinds of emery powder, and applied with a circular whisking
motion all over the surface. As those portions of the plate
on which the light did not act are the first to become tacky,
the emery powder will first adhere to them, the coarsest par-
ticles attaching themselves to those parts of the picture

244 THE PRLWTERS' HANDBOOK.

deepest in shadow. The exposure to light ought to be such
that every portion of the surface — with the exception of the
extreme high h'ghts — becomes in a condition to " take " the
powder. If the image be slow in developing under this
pulverulent treatment, then the moisture in the atmosphere
should be slightly increased. The mere allowing of the pic-
ture to stand for five minutes longer frequently answers every
purpose ; the moistening of the air by artificial means will
answer the same purpose without delay. This film is so
susceptible to the influence of moisture that the operator
should take great care lest his damp breath impinge on the
picture, as the moisture caused by such an application might
result in a local predominance of the power which attaches
itself in obedience to hygrometic law. Assuming now that
the picture has been developed, a polished plate of metal,
softer than that upon which the picture is formed, must be
laid down upon the other, face to face, and the two passed
between a pair of rollers screwed so well together as to insure
the setting off on to, or indentation of, the emery powder
image into the polished plate of metal. This latter plate is
now precisely similar to the one produced by the mezzotint
engraver. An impression having been obtained by an
ordinary copperplate press, the manipulator having the proof
and the plate both before him, applies a small burnisher with
a curved point to the various portions of the picture requiring
lightening. After having completed this work to the best of
hisjudgment, a second proof is obtained, and, if necessary, a
second series of the alterations are made upon the plate until
it is finally found that it yields an impression quite equal to
the requirements of the subject. It only remains then to
hand the plate over to the printer, who will produce the im-
pressions equal in every respect to the first proof.

Etching on Steel. — The metal to be etched is first
moderately heated, and whilst hot it is covered with a very
thin coating of protective varnish, which adheres all over.
This coating, technically called ground, consists of 4 parts
asphaltum, 2 parts Burgundy pitch, and 1 part white wax.
The engraver then marks out the design, removing the

ENGRAVING AND PROCESS WORK. 245

ground from those parts which it is intended shall be etched.
The tools used for this process are called etching needles,
which are of various thicknesses, so that lines of correspond-
ing breadth can be made easily. A border of wax is then
made around the design, forming a trough containing the
biting-in acid. This biting-in composition is diluted with
nitric acid, according to some authorities ; but Knight's Dic-
tionary gives it as equal parts of pyroligneous acid and nitric
acid, to which thrice the quantity of water is added. The
acid is moved over the surface of the steel by the aid of a
feather, so as to act more readily. By this process a certain
number of copies may be obtained from the plate, but owing
to the fineness of the lines the number is very limited. Imita-
tion etchings are now so well done that at first sight it is
difficult to discover the difference.

Polishing Zinc Plates. — The polishing of zinc plates
for printing purposes is generally done by a dry process,
which, by a German trade paper, is designated as very dan-
gerous to the health of the operator; the fine particles of the
zinc and of the emery used for polishing will rise in the air
and get into the lungs, and every workman ought to tie before
his mouth and nose some cotton cloth, or perhaps, better still,
a damp sponge. Another paper gives a wet process of polish-
ing, stating that after the cleaning of the plates by some acid,
a wet bit of cloth is dipped into pumice-stone powder, and a
few minutes' polishing will suffice to prepare the plates, after
which a short finishing polish with fine emery powder is all
that is wanted.

To Preserve Zinc Plates. — Plates of zinc such as are
used in lithographic and zincographic establishments may be
spoiled by a single drop of water being left on them by in-
advertence. Mutton fat is an excellent means of preventing
oxidation and the influence of humidity. Before using it, the
plate must be rubbed perfectly dry with a smooth and clean
linen rag ; then the fat is lightly rubbed over the surface.
When the plate is to be used again, the grease may be easily
washed off with spirits of turpentine.

246 THE PRINTERS' HANDBOOK.

Engraving on Zinc. — Some interesting investigations
have recently been made as to the use that can be made of
amalgamated zinc. The property of an amalgam of zinc and
mercury in repelling fatty ink. is already known, drawings
made on zinc with mercury being unaltered after an inked
roller has been passed over them. If, instead of inking the
plate, a very dilute solution of nitric acid (two cubic centi-
metres of acid in lOO grammes of water) be flowed over it,
the amalgam will be dissolved, and the lines consequently
be etched in ; on the contrary, if hydrochloric acid is used,
the amalgam is not attacked, but the zinc is dissolved and the
lines are left in relief. Now, proceeding on these principles,
if we coat the surface of a zinc plate with some photographic
preservative medium, such as bitumen of Judaea or bichro-
mated albumen, the parts where the metal is exposed can then
be acted on by mercury, either in a liquid state or in the
form of a solution of salt of that metal (like the biniodide),
and will be converted into the amalgam, which can be treated
so as to produce the image either in relief or in etching, as
may be required. Another method of procedure would be to
take a copy of a line drawing by the gelatine process, and
then dusting the image while still in a humid state will pro-
duce biniodide of mercury. This, when dry, would be applied
to a plate of zinc, and a copy of the image would be produced
on it in amalgam. By then plunging the plate into a bath of
nitric or hydrochloric acid, as before, the image will be ob-
tained either in relief or engraving.

Engravers' Plate Marks. — Artists' proofs are without
engraved title, but are sometimes signed in pencil by both
artist and engraver. Remarque proofs usually have a device
in the margin, such as a head, which constitutes remarque;
formerly a part of the engraving was left unfinished, as a
button or salt cellar, etc. Proofs before letters are still with-
out title, but with artist's and engraver's names printed close
to the bottom of the work. Lettered proofs have the title of
the work shortly and lightly engraved in a manner capable of
erasure before the title is finally placed on the plate in the
print state.

ENGRAVING AND PROCESS WORK. 247

To Harden Zinc Plates. — In order to harden these
plates, and thus render them more durable, it has been pro-
posed to nickel them. Zinc, however, takes nickel badly. It
is, therefore, recommended to apply first a thin layer of
quicksilver, which may be effected by putting the plates into
an acidified solution of bichloride of mercury or nitrate of
mercury. But the solution must be left to operate only a
short time, as otherwise the metal becomes brittle and short.
Pure zinc, not amalgamated, is soon coloured yellow and
brown in nickel solution ; the deposit may be removed with
paper. By employing a weak galvanic current, chemical
action preponderates, and a bad deposit is obtained in conse-
quence. If the current is very powerful, zinc is covered more
quickly with nickel than a chemical action of the zinc upon
the solution can take place, and a good deposit is consequently
obtained. In this manner zinc may be nickelled directly.
Amalgamated zinc displays a weak action upon nickel solu-
tion only after some time, and even a slight amalgamation of
the zinc is sufficient to nickel perfectly with a weak current.
Considering the extending application of the chemigraphic
and photo-chemigraphic process, the above employment of
quicksilver will be welcomed by many.

Ho'W Etching is Done. — Etching is considered by
some as mere pen-drawing, and by others as an inferior kind
of engraving. It is, however, an art quite distinct from
either, with capabilities and limitations peculiar to itself.
Briefly, the process is as follows : — A metal plate, preferably
copper, is covered with a coat of blackened varnish or wax.
On this surface the artist, with a needle not unlike a common
sewing needle, set in a handle, sketches in his composition. The
needle usually only removes the varnish, leaving the design
in glittering lines upon a black background. The plate is
then immersed in an acid bath, and when the lines have been
sufficiently bitten it is removed. If variations of tone and a
difference of force in the lines are required, as is usually the
case, the more delicate portions of the sketch are " stopped
out," that is, covered with varnish, so that they shall not be
affected by any subsequent exposure in the bath. The plate

248 THE PRINTERS' HANDBOOK.

is again immersed, and the process of stopping out repeated.
In the plate by Maxime Lalanne, entitled " Fribourg, Switzer-
land," for example, the copper was five times subjected to the
action of the acid. After three minutes' biting the most deli-
cate lines, indicating the extreme distance, were stopped
out, and the plate was exposed for three minutes more. After
this the nearer distances were stopped out, and so on with
successive portions of the plate, protected from the action of
the acid for four, ten, and again ten minutes respectively —
making the entire time occupied by the biting process only
thirty minutes. It will be seen, even from this cursory ex-
planation of etching, not only that the work is autographic,
but that it requires the mastery gained only by thorough
artistic training, as well as natural powers of no mean order,
to become a master etcher. The hand must be firm and
true, the lines must all have meaning, the mind must be clear
to grasp essentials, and the whole process must be purely in-
tellectual, as no greater difference in effect can be imagined
than that produced by glittering lines on a black surface, on
the one hand, and that of delicately graded black lines upon a
white background, on the other. A positive process is some-
times used, when the etching appears upon a plate as the
black lines upon a white surface, but in this process other
difficulties occur, as the lines have to be etched in the order of
their depth to ensure the relative amount of biting.

Damaged Woodcuts. — A method of restoring damaged
wood-engravings has been recommended. Remove all ink
from the damaged part, moisten thoroughly with a solution of
potash, and dry the wood again by blowing upon it for several
minutes the smoke from a cigar. It is said that an engraving
thus treated resumes its former state and may be at once
used to print from.

To make Counter-Dies for Stamping. — Cast the
counter-die upon the face of the die in type metal, and solder
it to the brass backing-piece while in the press in order to get
a good register.

ENGRAVING AND PROCESS WORK. 249

F^rocess Engraving. — The outline advertising cuts that
appear in the American daily papers are generally done by
the Kaolatype process. A sheet of iron is coated with plaster
of Paris and the lines scratched down to the base, and the
scratch mould is then used as a matrix to make a stereotype
plate. The better class of work, however, is done by ink
etching.

Etching on Copper. — Line or stippled drawings can
readily be produced by the following process : — The copper-
plate is first coated with bitumen on the turning-table, in the
same way as in photo-zincography, and when the bitumen is
quite dry, an impression from a lithographic stone on transfer
paper is applied to it ; when this paper is removed, we have
a copy of the impression in fatty ink on the bitumen surface.
This surface is then dusted with fine bronze powder, which
adheres to the inked portions and renders them quite opaque.
If now the surface be exposed to the light, the bitumen
covered by powder will be rendered insoluble ; on the plate
being placed in some solution which dissolves the bitu-
men, the copper will be laid bare in the parts not acted on
by the light. These parts can then be etched in by a con-
centrated solution of iron perchloride, and when the depres-
sions are sufficiently marked, the action of the mordant is
arrested, and all the undissolved bitumen is removed. We have
in the end an intaglio engraved plate. This process, however,
will not answer for the production of drawings with half tones.

New Method of Preparing Blocks for En-
gravers.— Break an egg and pour a little of the albumen on
the block, and then thoroughly rub it in. It does not sink
into the wood. This preparation, which is kept on the surface
all the time, is as follows : — gelatine, ten grains ; albumen, one
ounce ; water, one half-ounce. Rub this well in with the
palm of the hand or a brush — the hand preferred ; after this
preliminary coating put on a little photina preparation, which
is also to be well rubbed in. In five minutes a print from a
negative can be taken on this block in the sun ; or by the
electric light in about three minutes. The process gives good
black tones, like those obtained in platinum prints.

2 so THE PRINTERS' HANDBOOK.

Helioline Engraving. — Hitherto the methods applied
by the agency of photography for producing photo etchings
on copper or steel plates have only been partially successful,
with but little advancement over the earliest efforts made by
Niepce, Talbot, and others ; the general character of the work
produced being shallow and smooth, lacking sufficient depth,
tooth, and ink-holding qualities, so essential for plate printing,
and so much so that skilled and prolonged labour is called into
play to make them of any commercial value whatever for
illustrated publications, even where a small edition is struck off,
though aquatint granulations and other devices for producing
half-tones — as gauze opaque lines upon glass, etc. — have been
resorted to to break up the continuity of the plate surface. To
overcome this difficulty, the polished plate is prepared with a
thin layer of etching ground or other similar varnish, or a film
deposited by the battery, in order that its surface may be
rendered impermeable to the action of acid ; then with the
ruling machine a course of fine lines is ruled across its face,
crossing the same with a second or a third series of lines, if
deemed advisable, or with dots made by a roulette. In this
condition of the plate, the diamond point having cut through
the overlying film, exposed and slightly scratched the surface
beneath, if it now be bitten, the etching fluid would at once
attack the bright excoriated lines with a clean sharp bite to
any desired uniform depth. The small spaces between the
intervening lines being protected by the impervious film,
necessarily preserves its texture and purity of line. But
instead of corroding the plate directly after the ruling, a thin
gelatine sheet sensitized with bichromate of potassa is taken,
and on this, from a transparent positive, an image is made.
This, after being developed by washing in water to remove the
unaltered bichromate, is then squeezed in close contact with
the plate, or, if preferable, the plate is flowed with a solution
of bichromated gelatine, asphaltum, or other sensitive fluid,
adaptable to this process. In the latter instance, if the fluids
are used, the film is dried and receives the visible or latent
image in the usual way known to those who practise those
methods. After the exposure, if the bichromated glues have
been used, the etching may proceed at once. On the contrary,

ENGRAVING AND PROCESS WORK. 251

if a sensitive varnish be employed, a solvent for such varnish
is used, according to the character of the agent employed, and
the parts in their reciprocal relations being more or less inso-
luble, the soluble parts in their due proportion acted upon by
the menstruum float off, and the resulting picture appears and
unfolds itself. In either condition, as described above, the
plate is bitten, the acid penetrating through to the ruled lines
in proportion to the action of the exposure. First the deeper
shadows appear, and so on to the middle tones in their several
gradations of texture, with the high lights well marked, till the
whole picture is corroded into a finished engraving faithfully
represented in line, without the aid of etching tool, stopping-
out varnish, or the clever handling of the graver, thus produc-
ing a helioline-engraved plate, at once ready for the printing
press, capable of striking off thousands of impressions. Should
the work in any of its parts appear defective, the process can
readily be repeated, by ruling an additional series of lines, and
submitting the plate to a second exposure, or by rebiting.

Doorplate Engraving. — The usual way is to draw the
forms of the letters upon the plate with a steel point or a
pencil, and dig out the letters with a graver. The filling
matter is black or red sealing wax. A way of etching the
letters with acid has lately come into practice. With a com-
plicated design some very pretty work is done in this way.
The next is machine engraving, one kind being done by a
routing machine carrying an automatic tracer traversing the
pattern. Of these engraving machines there are several in
the market under various patents, some as mere tracers, others
as liners, while some claim universal w'ork.

Writing on Metals.— Take half a pound of nitric acid
and one ounce muriatic acid. Mix and shake well together,
and then it is ready for use. Cover the plate you wish to
mark with melted beeswax ; when cold write your inscription
plainly in the wax clear to the metal with a sharp instrument.
Then apply the mixed acids with a feather, carefully filling
each letter. Let it remain from one to ten hours, according
to the appearance desired, throw on water, which stops the
process, and remove the wax.

252 THE PRINTERS' HANDBOOK.

To Print an Etching. — The process is as follows : —
The plate is first warmed by being laid on a sheet of iron,
under which small gas jets are constantly kept burning ; then
the ink is spread on to the surface and into the lines with a
dabber, the superfluous ink being wiped off with a coarse
muslin rag, care being taken not to wipe the ink out of the
lines while removing it from the surface. Simple as this
appears when done by a practised hand, it really requires
considerable skill. The palm of the hand is then rubbed over
with a little whitening, and a final polish is given to the plate
with it. The plate is now put on the travelling bed of the
press, and on it is laid the paper, which should have been
previously damped ; over all are laid several thicknesses of
flannel. On the handle of the press being turned the cylinders
revolve, and the travelling board passes between them carry-
ing the plate with it. By the pressure thus obtained the
paper is drawn into the lines on the plate, the process being
facilitated by the elasticity of the flannel. Care must be
taken not to tear the paper in removing it from the plate.

Photography for Wood Engraving. — Hitherto the
attempts which have been made to directly use photography
for the purposes of wood engraving have not met with entire
satisfaction. The difficulty lies in the fact that the film upon
the surface of the wood is apt to be torn by the graver em-
ployed in cutting. By a new method the film is scarcely per-
ceptible, notwithstanding a collodion image is impressed upon
the wooden block. For the fixing of this image alcohol is
employed instead of water. A collodion diapositive is prepared,
covered with glass, and laid in a bath of alcohol, several blocks
being laid one upon the other. Under these conditions the wood
does not swell up as would be the case where water is employed,
and the collodion adheres very closely to the wood.

Furniture needs Cleaning as much as other wood-
work. It may be washed with warm soapsuds quickly, wiped
dry, and then rubbed with an oily cloth. To polish it rub
with rotten-stone and sweet-oil. Clean off the oil, and polish
with chamois-skin.

ENGRAVING AND PROCESS WORK. 253

Etching on Glass. — A liquid which can be used with
an ordinary pen, can be made of equal parts of the double
hydrogen ammonium fluoride and dried precipitated barium
sulphate, ground together in a porcelain mortar. The mixture
is then treated, in a platinum, lead, or gutta percha dish, with
fuming hydrochloric acid, until the latter ceases to react.

Etching Metal Surfaces. — The following method of
etching metallic surfaces, by which it appears possible to
produce highly decorative effects, has recently been published.
The article to be treated is electroplated with gold, silver,
nickel, or other metal, and on this the design which it is de-
sired to produce is traced with some suitable acid-resisting
substance. It is then immersed in an acid bath, b}'^ the action
of which those portions of the surface which are left unpro-
tected are deprived of their electroplated coating, and the
naked metal beneath is given a frosted or dead appearance.
The article is then well rinsed to remove all traces of the acid
emploved, and the acid-resisting varnish is removed by the
use of alcohol, oil, or other proper solvent. The result is a
frosted or dead-lustre surface of the original metal, upon
which the design in the electroplated metal stands up in re-
lief. If, for example, the article be one of copper and the
plating silver, the design will be in silver upon a dead copper
ground. It is manifest that the operation may be reversed —
that is, the design to be reproduced, instead of being pro-
tected, as in the foregoing procedure, may be left unprotected,
and the remainder of the electroplated surface covered. In
this case, after going through the above-described operations,
the design would appear to be in dead copper on a silver
ground.

Oilcloth may be improved in appearance by rubbing it
with a mixture of a half-ounce of beeswax in a saucerful of
turpentine. Set this in a warm place until they can be
thoroughly mixed. Apply with a flannel cloth, and then rub
with a dry flannel.

BOOKBINDLNG.

"\ 1 T^OOD for Binding. — A novelty has been introduced in
♦ » bookbinding — the substitution of walnut, maple, ma-
hogany, sycamore, and cedar for the covers of reading-cases,
music-books, and large volumes, in place of the usual leathers,
muslins, or papers. The examples submitted in Gothic binding
of this kind contrast very favourably, both in cost and appear-
ance, with the ordinary leather, and, so far as we can judge
without absolute trial, seem likely to be well received for table-
books, folios, and albums. The several woods, which take a high
degree of polish, are prepared to resist stains and damp, and
the cost, we are informed, does not exceed that of leather
binding.

The Covers of Books. — The vexing question of binding
will come after all the other questions have been settled. It
shall not be panelled russia, certainly, for russia leather does not
last, but it may be crushed levant, morocco, or vellum over the
original paper wrappers and the original cloth covers detached
from their boards, or the cloth-covered books may remain
untouched ; and your binding may be half binding with
corners, or half binding without corners, or full binding ; and
in Jansen (short for Jansenist) style, which is without an orna-
ment, or a la fanfare, which is a pretty style of ornamentation,
and in one or varied colours ; and it is not heresy in biblio-
latry to give an English book to a French bookbinder, or the
reverse, and an American bookbinder loves his art enough not
to let his Chauvinism make ungraceful work for "American
Notes." The only recommendation which it would not be
pedagogic to make to a collector may be that a book in half

BOOKBINDING. 255

binding should have uncut edges, and a book in full binding
must have gilt edges, even if the binder finds it necessary to
cut them a little, for full binding is the evening dress of books,
and a book in a full binding, with or without gilt top, and white
edges on the other sides, as it often appears recently, looks
like a gentleman in a clawhammer of broadcloth and blue jean
trousers. The paper covers (or wrappers, as the Dickens men
say) of a book are kept because they are often illustrated, were
part of the book's physiognomy, mayhap made its fortune, and
contain useful information for bibliographers. The French
led the fashion with their first collections of books written by
romanticists, the covers of which had ghostly vignettes by
Deveria and the Johannots, and magnificent promises of great
works by Hugo, Gautier, Balzac, Lacroix, and the rest, a
catalogue of which would make an interesting volume on
" Books Announced, but Never Published."

" Pellisfort " Binding, — Something new in bookbinding
has been introduced by Messrs. Stoneham and Co., of Farring-
don Road, who have been very successful in bringing out quite
a new feature in this line of business. It is called the "Pellis-
fort " binding. Instead of the ordinary boards metal plates
are used, which for many reasons are found to be very much
better. The covers are flexible and yet strong, and will not
curl up even if the book be read close to the fire, and they also
resist damp. A better finish, it seems, is given to books bound
in this style. The leather lays flatter and the gold looks
brighter. Many people prefer limp binding, and this " Pellis-
fort " style of binding not only gives limpness, but strength
and elegance combined. Another excellent feature we noticed
in the bound books shown us was a place made in the inside
of the front cover for a photograph, which for presentation
volumes is a capital idea. There is no doubt that this new
binding will take well with the trade and the public. The
above firm are also making " Pellisfort " leather photo frames
on the same principle, metal plates being used instead of
boards. They are covered in morocco and made to stand on
a shelf, or can be hung up ; they are finished in a very
superior style.

256 THE PRLXTERS' HANDBOOK.

Embossed Leather. — Hundreds of men, women, and
even boys, in New York, are engaged in the business of
collecting old boots and shoes, which they take to the wall-
paper factories, where they receive from five to fifteen cents
per pair. Calfskin boots bring the best price, while cowhide
ones are not taken at any figure. These boots and shoes are
first soaked in several waters to get the dirt off, and then the
nails and threads are removed and the leather is ground up
into fine pulp. Then it is pressed upon a ground of heavy
paper, to be used in the manufacture of "embossed leather."
Fashionable people think they are going away back to mediaeval
times when they have the walls of their libraries and dining-
rooms covered with this, and remain in blissful ignorance that
the boots and shoes which their neighbours have thrown away
now adorn their walls and hang on the screens which protect
their eyes from the fire. Carriage-top makers and bookbinders
also use the material made from old boots and shoes, the
former for leather tops for carriages and the latter leather
bindings for the cheaper grade of books. The new styles of
leather frames, with leather mats in them, are entirely made
of the cast-ofF feet coverings.

Colours of Books in the British Museum. — These
are all bound on a principle ; historical works being in red,
theological in blue, poetical in yellow, natural history in green.
Besides this, each part of a volume is stamped with a mark
by which it can be distinguished as their property, and of
different colours ; thus, red indicates that a book was purchased,
blue that it came by copyright, and yellow that it was pre-
sented.

Mildew in Books. — Readers whose books have been, or
are likely to be, attacked by mildew, may preserve them to
some extent by placing a saucer of quicklime near, in the
bookcase, or shelf, or where convenient. The lime absorbs
the excess of moisture, and must be renewed, as it becomes
slaked and loses its strength. It is equally good for putting in
linen chests, iron safes, or wherever there is likely to be any
mustiness owingr to the exclusion of fresh air.

BOOKBINDING. 2 si

Sizes of Books (Uncut Edges). — Books with uncut
or merely trimmed edges should measure in inches :
Octavo. Quarto.

Pott 6:^ X 4 71 X H

Foolscap 6|: X 4^ 8^ X Si-
Crown 7t X 5 lo X 7f

Post 8 X5 lo X 8

Demy 8^ x 5i 1 H X 8^

Medium gi X 6 12 x gf

Royal 10 x 6i i2i- x 10

Super Royal lo^ x 6^ 13^ X lo^

Imperial 11 X 7^ 15 x 11

Other sizes are a matter of further subdivision. These
dimensions are not for books with cut edges, but it is safe to
allow a quarter of an inch less in height, and not quite so
much in width, if the edges have been cut down, always
assuming these edges have not been cut more than once;
otherwise, if the book has been rebound more than on one
occasion, no reliance can be placed on this rule.

^^aterproof Binding. — A new waterproof material,
designed as a substitute for bookbinders' cloth or leather, is
made by treating fibres of linen, cotton, jute, wool, wood,
cellulose, etc., as well as the waste from the treatment of such
fibres or cellulose, with a solution of albumen, which solution
may be applied superficially or throughout the mass. To this
solution is added glycerine, in order to make or render the
coagulum formed ductile, and a solution of metal salt for the
purpose of increasing the capability of coagulation, and for
preserving it against the action of water ; and in order to
impart to the material the strength of leather or stiff paper of
strong quality, basic borate of soda is added. The solution of
albumen thus prepared is brought into coagulation, and the
whole is pressed in an appropriate manner between heated
rollers or cylinders, which may have smooth or engraved
surfaces as desired. Instead of using fibres as described, woven
material or paper may be employed, using the same process,
roughening the surfaces of the material to facilitate the adhesion
of the albumen and keep the coagulum on the surface.

2^8 THE PRINTERS' HANDBOOK.

The Manufacture of Gold Leaf. — The following is
the method usually adopted by manufacturers of gold leaf.
The extreme malleability of gold has made it a prominent
metal in the useful as well as the fine arts. It has been
calculated that from two to four million dollars' worth of this
precious metal is annually used on ornaments, in gilding, in
lettering, edging of books, in sign, ornamental painting, and in
dentistry. Of course, the greater proportion of this is for the
first-named purpose, although there appears to be a great
amount used in the other industries. A comparatively small
amount, however, is necessary to cover a great deal of space.
A cubic inch can be hammered so as to cover a space thirty-
five feet wide and one hundred feet long, and twenty twenty-
dollar gold pieces can be drawn into a wire that would reach
around the globe.

A New Cover for a Writing-Book.— This is made
with a pivoted rod which falls into the hollow of the book, and to
which is attached an adjustable swinging-arm upon which the
copy slip may be placed, and which arm also serves to keep
down the leaves.

Leatheroid. — A new article made of paper. It consists
of a number of thicknesses of cotton paper wound one upon
another over a cylinder. It possesses remarkable qualities
of strength and adhesion, derived from a chemical bath
through which the paper is drawn on its way to the cylinder.
Leatheroid, for the purposes it now serves, consists of about
twenty thicknesses of paper ; it is shaped upon or around
moulds, while wet, into the form it is to represent, and will
hold that form perpetually when dry. When dried, it is as
difficult to cut with a knife as raw hide. A company has been
formed for the manufacture of this article in the United
States, and for its manufacture into seamless cans, bo.xes,
etc., to take the place of tin cans and wooden boxes. Cans
made from it are about one-fourth the weight of tin cans of
equal size. Cans made from leatheroid have the elasticity of
thin steel, and no amount of kickmg or handling will break
them,

BOOKBINDING. 259

To Preserve Bindings from Mildew. — The binding
of books may be preserved from mildew by brushing them
over with spirits of wine. A few drops of any essential oil
will secure bindings from the consuming effects of mould and
damp. The leather which is perfumed with the tar of the
birch-tree never moulds or sustains injury from damp or
insects. The Romans used oil of cedar to preserve their
manuscripts. Russia leather placed in the window will, it is
said, destroy flies.

Persian and Turkey Morocco. — According to "The
Library Journal," Persian goat or morocco is the skin of a
kind of wild goat raised in East India, and tanned in a species
of bark native in its own country, and then shipped to London,
from which place it is sent to all parts of the globe. Turkey
morocco is a goat-skin raised in Switzerland and sent to
Summac, Germany, for tanning, and is a finer grade of goods.
Bock leather is a sheep-skin, also raised and tanned in East
India.

Pig-Skins for Bookbinding. — At one time, we believe,
before morocco came into general use, pig-skins were largely
employed for bookbinding. One reason why they fell into
disuse, probably, was their cost, but this, at least, is no longer
an impediment. Pig-skins are tanned by an old-fashioned
and somewhat tedious process, but it has the advantage of
turning them into a leather of extraordinary toughness and
durability, which is all but impervious to atmospheric in-
fluences. We lately saw some specimens of pig-skins, or, as
they are named by the tanners, hog-skins, specially manu-
factured by Messrs. John Muir and Sons, of Leith, for the
use of bookbinders. They are in a variety of shades, and are
worked up into a very beautiful grain, something like a large
grain morocco in appearance. Their cost is a little below
that of calf, so that they fall quite within the limits of expense
as materials for bookbinding. Appearances are greatly in
their favour, and whether for library bindings, where strength
and durability are the prime considerations, or for fine

26o THE PRINTERS' HANDBOOK.

bindings, these hog-skins seem equally well adapted. Hog-
skins would be very serviceable for account-book bindings,
particularly for hot climates. In India and elsewhere hog-
skins have long been preferred to other leathers for certain
purposes, on account of their lasting qualities, and similar
considerations may be expected to operate in their favour for
bookbinding. One curiosity of hog-skin is its resemblance to
human skin ; after being tanned the one can scarcely be
distinguished from the other.

Margins of a Book. — The four sides of a printed page
in a book are called head, tail, fore-edge, and back.

Edges of Books. — There is not always a clear under-
standing as to the terms used in connection with the treatment
of edges. " Uncut " does not necessarily mean that the edges
have not been opened with a knife, but simply that the book
has not been cut down by machine, a method which sometimes
sadly mars the appearance of a book. The expression
"unopened" is perhaps a stricter term to be applied when
absolutely untouched. " Trimmed edges " means that the
heads have been left untouched, and the fore-edge and tail
merely trimmed sufficiently to make them tidy. " Cut edges "
means that a portion has been cut from the three sides of the
book.

Some Bibliographical Names of Books :

Folio 2".

Quarto 4to.

Octavo 8vo.

Duodecimo l2mo.

Sextodecimo i6mo.

Octodecimo l8mo.

Vigesimo-quarto 24mo.

Trigesimo-secundo 32mo.

A Remedy for Soiled Books. — Dirt may be taken
off book-leaves, without injuring the printing, with a solution
of oxalic acid, citric and tartaric acid. These acids do not attack
printing-ink, but will remove marginal notes in writing-inks, etc.

BOOKBINDING. 261

Imitation Bronze Plates for Book Covers are

produced by embossing a metal-covered foundation plate, and
bronzing and varnishing the surface so as to give it the appear-
ance of old bronze or other metal. A foundation plate of paper-
pasteboard or other suitable material, faced with silk, muslin,
or cloth, is covered with a thin layer of metal, formed of
metal leaf, metal-covered paper, foil, tinsel, or bronze powder.
The plate is then embossed by means of an embossing plate
into which the required design has been engraved or other-
wise produced. The surface of the foundation plate is next
sized and coated with pulverized graphite, bronze powder, or
other metallic powder, over which a coat of varnish is placed
to protect the bronze coating. The plates thus produced
have the appearance of real bronze, present a handsome ap-
pearance, and can be used for a variety of purposes. By
using bronze powders of different colours on the same plate a
variegated effect may be imparted and the artistic appearance
■of the plate considerably enhanced.

Book Labels. — Amateur bookbinders would produce
tasteful labels for the backs of books if they only knew how to
impress the letters on the thin leather in such a way as to
prevent the gold from rubbing off. To print in the ordinary
manner and bronze over is useless. The best plan is this :
Thoroughly beat the white of an ^g^^ rub it thin over the
place to be lettered, put on the gold leaf, and with type, suf-
ficiently heated to coagulate the albumen, press on the leaf.
Remove the surplus leaf with a tuft of cotton.

Red Bdges. — To obtain a bright and lasting red edge
take the best vermilion and add a pinch of carmine ; mix
-with glaire, slightly diluted. Take the book and bend over
the edge so as to allow the colour to slightly permeate it ;
then apply the colour with a bit of fine Turkey sponge, bend
over the edge in the opposite direction, and colour again.
When the three edges have been done in this manner, allow
them to dry. Screw the book tightly up in the cutting-
press, and after wiping the edge with a waxed rag, burnish
•with a flat agate.

262 THE PRINTERS' HANDBOOK.

A Preventive against Dampness for Books. —
Quicklime is the best thing to save books from the ill effects
of damp. A small vessel full of lime placed near a bookcase
is better than a blazing fire for this purpose. The lime, which
absorbs every particle of moisture in the atmosphere, must be
changed every two or three days.

A Strong Binding. — The following method of binding
books liable to rough usage has been patented by a resident
of Switzerland. After the sheets have been folded, collated,
and pressed, they are glued on the back. The blank paper,
glued inside on both parts of the binding boards, receives
linen folds. After these blank papers have been glued or
pasted, the book is trimmed on the three sides and a board-
lap glued along the back. The book is then glued into its
binding. The holes for the rivets are punched by a machine,
and little metal plates placed along both sides of the back of
the book are riveted with wire having little heads. The
sewing of single sheets, which involves great loss of time, is
done away with in this binding.

Morocco Leather. — Morocco leather is made from
goat-skins, tanned in sumach, dyed in the ordinary way,
having been previously immersed in a solution of sulphuric
acid. The grain is stamped upon it either by hand or by
machinery, similar to that employed for the purpose of dicing
or graining. Very fine small skins for gloves are often pre-
pared by immersion in a solution of alum and salt, instead of
tannin, flour and the yolk of eggs being afterwards applied to
soften and whiten. Buff leather, not now quite so much in
request as in former days, was at first made from the skin of
an animal called the buffe, or urus, which was then common
in Western Europe. When new the leather was always a
tawny yellow, and the skins gave the name to the colour. Cor-
dovan leather was first made at Cordova in Spain, from hides
dressed to be used with the grain side outward. It was from this
leather that the title " cordwainer " came. Russia leather is
tanned in an infusion of willow or birch bark, and derives its
peculiar and long-enduring odour from the birch oil with

BOOKBINDING. 263

which it is dressed. Levant leather is first " struck out " in
warm water on a mahogany table, " blacked " with logwood
and iron liquor, then polished by revolving rollers, and
" grained up " by the workman with a " corking board " on
a table. The grain is set into the leather in a hot stove, and
after this it is oiled with cod oil. In finishing japanned leather
the japanned mixture is worked by the hand alone. This
mixture consists simply of linseed oil and Prussian blue, the
last coat being of linseed oil and lampblack, put evenly over
the surface as it lies spread out on a table. No machine
has as yet been made to supersede the hand in this part of
the work. In the blacking of skins a mixture of ox blood and
acetate of iron is now very often used.

Preservation of Bindings. — For this purpose the
use of vaseline has been suggested, it having the advantage of
being a mineral substance, and therefore much less liable to
decompose than anything belonging to the animal or vegetable
kingdom It answers better, however, with leather and with
cloth than with the marbled sides or edges of books, though
even these have been found not to be in any way damaged by
the treatment. It might be thought that an unpleasant
greasiness would be produced, but this is not so — at least not
for more than a few hours. The bindings seem to drink up
the vaseline as if they knew it would do them good.
Neither does the smell of vaseline persist for long. At the
same time it is well to be cautious, and anyone who is dis-
posed to make trial of the plan here recommended would in
the first instance do well to confine his attentions to old
bindings.

A Cheap Binding. — Pack the papers smoothly, hold
firmly, and drive a thin chisel through the pile about half an
inch from the back. Push a strong tape through and leave
out about two inches ; put three or four tapes through at even
intervals. Cut common thick paper boards large enough to
project a little everywhere, except that one edge must come in
front of the tapes. Draw the tapes tightly, and glue down to
the boards outside. Skive a piece of leather — common sheep-

264 THE PRINTERS' HANDBOOK.

skin will answer — wide enough to cover the back and come
on the boards an inch or two, and long enough to project a
couple of inches at the end. Paste the leather well ; put it on
the back ; fold the ends in so as to come over the boards on
each side. Paste any fancy or plain paper over the sides ; and,
lastly, paste the blank leaf down to the cover inside, and you
have a presentable book, and very durable. Trimming the
edges can be easily done by clamping between boards and
cutting the edges with a thin, sharp knife by a straight edge.
Of course this is done before the boards are put on, after the
tapes are in. This makes a flat-edged book, but for a thin
book answers very well.

To Gild Edges of Cards. — Put your cards together
so that the edges are perfectly even. Then place in a press
with the edges uppermost. Coat the edges with a mixture of
red chalk and water. The gold leaf — preferably of thin
quality — is blown out from the books and spread on a leather
cushion, where it is cut to the proper size with a smooth-
edged knife. A camel's-hair pencil is dipped into white of
egg mixed with water, and with this the partially dry edge is
moistened ; the gold is then taken up on a tip-brush and
applied to the moistened edge, to which it instantly adheres.
When all the four edges have been gilt in this way, and
allowed to remain a very few minutes, take a burnisher formed
of a smooth stone (usually bloodstone) and rub the gold
quickly till it receives a high degree of polish. For silver
edges take a brush, dip it in a saturated solution of gallic acid,
and wash the edges ; then brush with a solution of 20 parts
nitrate of silver to l,ooo parts distilled water. Keep on
alternating these solutions until the edges assume a brilliant
tint. Then wash with distilled water and dry by free air and
heat.

A Process for Marbling Book-edges. — Marbling the
edges of books can be done, and as a matter of fact frequently
is done, by practical bookbinders simply by transferring from
unglazed marbled papers. The operation is conducted by
first screwing the book to be marbled up tight in a press and

BOOKBINDING. 265

damping the edges with spirits of salt. The marbled paper
selected is then laid on and another piece of moderately stout
paper on the top, and is then carefully beaten down with a
broad smooth-faced hammer, taking care that the paper does
not slip while doing so. After going over the edges with
light but decided blows several times the pattern will be found
perfectly transferred and may then be burnished. To pro-
duce good results all that is required is a little care and
practice.

Remedy for Wood-worms. — Benzine will destroy
wood-worms in books and woodwork. The insects, as well
as their larvae and eggs, will soon die oflfif a saucer of benzine
is placed in the bookcase and the doors kept closed. Furni-
ture and carvings infested with wood-worms are similarly
placed in a room with a dish of benzine, and kept closed up
for a sufficient time.

Gilding Upon a Marble Edge. — The book, being
scraped the same as in gilding, is marbled in a desired style
and put into the gilding-press in the same manner as an
ordinary book for gilding ; it is then burnished, the size being
lightly applied immediately, care being taken so as not to
destroy or unsettle the marble, and then is finished off in the
ordinary way, after which, when properly done, it makes as
fine an edge as one would wish to see, the marble showing
through the gold.

Glass for Paring On. — Use a piece of glass instead of
marble ; you will find it much to be preferred. A piece of
heavy plate-glass is the best, as it will not break so easily.

Colour for Red Edges. — A very pretty red edge can
be made of Chinese vermilion and eosine mixed. First dis-
solve the vermilion in the usual way and then add the eosine
powder — about half as much eosine as vermilion — and when
burnished the edge will have a gilt or metallic cast.

266 THE PRINTERS' HANDBOOK.

Imitation Leather Surfaces. — By means ofelectricity
the most attractive leather surfaces are now completely
imitated. The leather which it is desired to imitate is first
well cleaned and coated with graphite, as in electroplating a
small article. It is then placed in a copper-bath, the tank of
which is large enough to easily receive a skin of any size. A
dynamo-electric machine generating a powerful current fur-
nishes the electricity. The copper is deposited upon the
coated surface of the hide to a thickness of from one-sixteenth
to one-eighth of an inch. The plate thus formed reproduces,
but reversed, every mark and minute vein of the leather, so
that a print taken from it is an exact copy of the original in
every detail.

Black Under Glaze.- — Red lead, 3 parts; 1^ parts
antimony ; i- part manganese. After these have been cal-
cined, add the following, and calcine again : — 3 parts blue
calx ; i- part oxide of tin.

Pearl Patterns on Cloth. — Flexible mother-ot-pearl
patterns are produced on cloth stuffs, according to a recent
German patent, as follows: — On a soft elastic base is placed
thin caoutchouc as large as the pattern, and upon this a thin
plate of copper, with the pattern cut through. Over the
copper is placed the cloth on which the mother-of-pearl pat-
tern is to be produced. A heater is now passed over the
whole, with the result of melting the thin caoutchouc, and
causing it to be pressed up against the cloth, in form of the
pattern.

Cement for Leather. — Not every bookbindL-r may be
aware that gutta percha dissolved in carbon disulphide until
it is of the consistency of treacle forms a very good cement
for splicing leather. The parts to be joined must first be
thinned down, then a small quantity of the cement is poured
on each end, and spread so as to thoroughly fill all the pores
of the leather. The parts are next warmed over a fire for a
few minutes, joined quickly, and hammered well together.

BOOKBINDING. 267

Imitation Leather used for binding cheap account
books and other purposes, in place of leather, is manufactured
thus : — A piece of cotton texture is passed between two
cylinders, the upper one of which permits a mixture consist-
ing of oil, resin, lampblack, and other matters to flow upon
the slowly moving canvas. From the cylinders the fabric is
wound up upon a drum made of wooden sticks so arranged
that the successive layers are kept apart from one another.
When the whole piece has been wound up on the drum, the
latter is placed, with the oiled cloth on it, in a drying chamber.
After drying, the cloth is smoothed by means of a pumice-
stone, and passed a second time through the cylinders,
receiving another coating of varnish. It is then dried, and
these alternate operations repeated at least five times, in order
to make the coating sufficiently thick. The final process is
pressing the cloth in such a manner as to give it the appear-
ance of natural leather.

To Restore the Gloss of Fine Bindings.— These
may be restored by using a preparation of Canada balsam and
clear white resin, of each six ounces, dissolved in one quart of
oil of turpentine.

Gilding on ^Vater-Coloured Edges. — This is an
edge which not only pleases the eye but is hard to execute.
After the edge is well scraped and burnished, the leaves on
the fore-edge are evenly bent in an oblique manner, in which
position boards are affixed on each side until the design is
painted, according to fancy. When dry, the boards are un-
tied and the leaves take their proper position. The book is
then placed in the gilding-press, and the size and gold are
laid on, and when dry burnished. The design will not be ap-
parent when the book is closed, because the gold covers it;
but when the leaves are drawn out it shows up readily, the
gilding disappearing, and a very unique effect is produced.
The time and labour required make this operation expensive,
and it is consequently very seldom done. However, the taste
and wishes of some render it necessary that the gilder should
know how to operate.

268 THE PRINTERS' HANDBOOK.

Protection against Cockroaches. — These insects are
known to be great destroyers of books in the ravages they
make upon the bindings. Roaches will not touch books which
are varnished with a mixture of one part copal varnish and
two parts oil of turpentine. With a large brush paint this
over the cloth binding, and let the book stand to dry. It
cannot be applied to the edges, unfortunately, but it is some-
thing to know that it will save the other parts of the book.

Gilding Leather. — Damp the skin with a sponge and
water, and strain it tight with tacks on a board sufficiently
large. When dry, size it with clear double size ; then beat
the whites of eggs with a wisp to a foam, and let them stand
to settle ; then take books of leaf silver and blow out the
leaves of the silver on a gilder's cushion ; pass over the
leather carefully with the egg size, and with a tip-brush lay
on the silver, closing any blister that may be left with a bunch
of cotton. When dry, varnish over the silvered surface with
yellow lacquer until it has assumed a fine e^old colour. The
skin being thus gilded may be cut into suitable strips or pat-
terns. It should be carefully observed to have the skin well
dry before sizing it. Bookbinders gild the edges, etc., of
leather in a different way. They first go over the part in-
tended to be gilded with a sponge dipped in the glaireof eggs
(the whites beaten up to a froth and left to settle) ; then,
being provided with a brass roller on the edge of which the
pattern is engraved, and fixed as a wheel or roll in a handle,
they place it before the fire till heated, so that, by applying a
wetted finger, it will just hiss. While the roller is heating
they rub the part where the pattern is intended to come with
an oiled rag or clean tallow, and lay strips of gold-leaf on it,
pressing it down with cotton ; then with a steady hand they
run the roller along the edge of the leather, and wipe the
superfluous gold off with an oiled rag, and the gold adheres
in those parts where the impression of the roller has been
made, while the rest will rub off with the oiled rag.

To Restore Morocco. — The lustre of morocco leather
is restored by varnishing with white of egg.

BOOKBINDING. 269

Restoring Leather Bindings. — Mildew, shown in the
form of roundish or irregular brown spots, cannot be cured,
but may be effectually checked by thoroughly drying the
volume and afterwards keeping it in a dry place. Leather
bindings of old books will frequently be found to be dilapi-
dated. If broken, rubbed, or decayed, fill up the crevices with
paste, then take the yolk of an ^ggy well beaten up, and apply
to the leather with a sponge, having first cleansed it with a
dry cloth. A hot iron passed over it gives a polished surface.
Stains of any kind may be removed either from the leaves or
the cover of a book. For common writing ink use a mixture
of spirits of salts and water in the proportion of one to six.
A solution of chloride of lime is also good. In both cases the
part should be subsequently well washed with clean water.
Grease or wax spots are removed by holding a hot iron close
to the place affected, or by washing with ether or benzine. By
the latter process it is advisable also to use the hot iron.
The remedy against oil stains is sulphuric ether. Roll up
the leaf to be operated on, insert it in a flat-mouthed bottle
half full of the ether, and shake it quietly up and down for a
few minutes. On removal the stains will have disappeared ;
the ether rapidly evaporates from the paper, and rinsing in a
little clear water finishes the job.

To Preserve Records and Books against the
Attacks of Insects. — It has been proposed: — 1. To
abolish the use of any wood in the binding processes. 2. To
recommend the bookbinder to use glue mixed with alum in
place of paste. 3. To brush all wormeaten wood in the repo-
sitories of books with oil or lac-varnish. 4. To preserve books
bound in calf, it is recommended to brush them over with thin
lac-varnish. 5. No book to lie flat. 6. Papers, letters, docu-
ments, etc., may be preserved in drawers without any danger,
provided the wafers are cut out, and that no paste, etc., is
between them. 7. The bookbinder is not to use any woollen
cloth, and to wax the thread. 8. To air and dust the books
often. 9. To use laths, separated one from the other one
inch, in place of shelves. 10. To brush over the iiisides of
bookcases and laths with lac-varnish.

270 THE PRINTERS' HANDBOOK.

Black Kdges. — Books of devotion are usually bound in
black leather, and the edge of course is blacked to match
the cover. To give a book a neat black edge observe the
following process : — Put the book in the press as for gilding,
and sponge with black ink ; then take ivory-black, lamp-
black or antimony, mix well with a little paste, and rub on the
edge with the ball of your hand till it is perfectly black and a
good polish is produced. Then burnish the same as any other
coloured edge. The edges require the book to be scraped
in the same manner as for gilding. To lay the colour on
evenly and give it a high burnish requires more labour than
gilding and is quite as expensive.

Black for Binders. — Brunswick black, thinned down
with turpentine until it has attained the right tone and colour,
with a little varnish added — about one-twentieth of the bulk
of the black and turps. There is no difficulty in getting the
inixture to dry hard.

Imitation Leather. — An economical substitute for
rough calf or other skins used in bookbinding has lately been
invented. Vellum cloth or some other suitable fabric is coated
with an adhesive substance, such as is used in making flock-
paper, and before this substance becomes dry, flock is dusted
upon it. The resulting fabric resembles rough calf or other
leather ; the effect can be varied according to the particular
dye previously applied to the flock.

A Few Hints on the Care of Books. — Amongst
others, the following suggestions to book-lovers appeared in
"Notes and Queries," of an old date : —

Never cut up a book with your finger, nor divide a printed

sheet if it be ill-folded, as one page will rob the other of its

margin.
Never bind a book wet from the press, as it cannot certainly

be made solid without risking the transfer of ink from one

page to another.
Never compress a book of plates in binding, as it injures the

texture of the impressions.

BOOKBINDING. 27 1

Never destroy an antique binding if in moderate condition ; if

necessary repair it carefully. Do not put a new book in an

antique jacket, or vice versa.
Never allow a book to be " finished " without the date at the

tail of the back; it saves subsequent trouble, and the book

from much needless handling.
Never have registers or strings in your books of reference,

they are apt to tear the leaves ; paper slips are the best, if

not to numerous.
Do not allow your books to get damp, as they soon mildew.
Do not allow books to be very long in a too warm place. Gas

affects them very much, Russia in particular ; Morocco

stands heat best.
Rough-edged books suffer most from dust. Gilt edges are the

best ; at least, gild the top edges.
Do not, in reading, turn down the corners of the leaves ; do

not wet your finger to turn a leaf, but pass the fore-finger

of the right hand down the page to turn over.
Do not allow foreign substances, crumbs, snuff, cards, botanical

specimens, to intrude between the leaves.
Do not stand a book long on the fore-edge, or the beautiful

level on the front may sink in.
Never wrench a book open if the back is stiff, or the edges

will resemble steps of stairs for ever after ; open gently a

few pages at a time.
Never lift books by the boards, but entire.
Never pull a book from the shelf by the head-band ; do not

toast them over the fire, or sit on them, for " Books are kind

friends, we benefit by their advice, and they reveal no con-
fidences."

MISCELLANEOUS.

TO Transfer Printed Matter to Glass.— Flow the
glass plate with a good quantity of photographers' nega-
tive varnish, which should be thinned down in the usual way.
When this has been partially dried so that it will not run into
the paper, lay the engraving or showbill face downwards upon
the prepared surface, and subject it to slight and uniformly
apportioned pressure for twenty-four hours. Then moisten
the back of the paper, and by means of a soft rubber rub off
the softened paper. If this is done with care, the ink lines
will remain attached to the varnished glass surface. As the
thin varnish is quite transparent, this is equivalent to trans-
ferring the engraving to the glass surface. The transfer is
frequently improved in appearance by giving the plate (and
transfer) a second coat of varnish.

A cheap Gilding Bronze. — The following mixture has
been recommended for cheaply gilding bronzes, etc. : — 2^ lbs.
cyanide of potash, 5 oz. of carbonate of potash, and 2 oz.
cyanate of potass, the whole diluted in 5 pints of water, con-
taining in solution one-fourth ounce chloride of gold. The
mixture must be used at boiling heat, and after it has been
applied, the gilt surface must be varnished over.

To Separate the Leaves of Charred Books. —
Cut off the back so as to render the leaves absolutely inde-
pendent from one another, then soak them, and dry them
rapidly by a current of hot air. The leaves will then separate,
but must, of course, be handled with extreme care.

MISCELLANEO US. 273

Japanners' Gold Size. — In gold printing japanners'
gold size may, it is suggested, profitably take the place of the
size ordinarily used. Powder finely of asphaltum, litharge, or
red lead, each 1 oz. ; stir them into a pint of linseed oil, and
simmer the mixture over a gentle fire, or on a sand-bath, till
solution has taken place, scum ceases to rise, and the fluid
thickens on cooling. If too thick when cool, thin with tur-
pentine.

To Keep Brass from Discoloration.— It is diffi-
cult to make yellow brass articles long retain their colour,
but a thin varnish of shellac or a coating of collodion will
preserve the colour without giving the appearance of being
varnished.

Colours for Bronze. — In making colours for bronze,
manufacturers have hitherto employed a concentrated solu-
tion of gum arabic for grinding the bronze, reducing it to
powder by pounding. But someone has recently found a better
and cheaper material by substituting for the gum arabic a
liquid solution of 5 parts of dextrine, and 1 part alum, the
bronze being washed and polished as usual.

To Clean Bronze. — Weak soapsuds or aqua ammonia
will clean bronze statuary or bronze ornaments in the fine
lines of which dust has collected.

To Nickel Plate. — A simple method for nickel plating
is to add to a solution of nitrate of nickel a strong solution of
potassium cyanide, until the precipitate of the first is dis-
solved. Nickel anodes must be used. Another bath for
nickel deposits is obtained by dissolving equal weights of
ammonia and nitrate of nickel, and then mixing the solution
with twenty-five times its volume of bisulphite of soda.

To Remove Dust from Polished Surfaces. — Take
cyanide of potassium, 15 grammes; soap, 15 grammes ; chalk
blanc de Meudon, 30 grammes ; water sufficient to make a
thick paste.

2 74 THE PRINTERS' HANDBOOK.

To Keep Gilt Goods Bright and Clean. — Stationers
always have some loss in gilt goods, and it is no easy matter
to keep these gilt goods bright and clean. Gilt articles, if of
metal, may be cleansed by rubbing them gently with a
sponge or soft brush moistened with a solution of half an
ounce of potash, or an ounce of soda, or perhaps best, an
ounce of borax in a pint of water ; then rinsing them in clean
water and drying with a soft linen rag. Their lustre may be
improved, in certain cases, by gently heating them and then
applying gentle friction with a soft rag. A very dilute solu-
tion of cyanide of potassium, applied in the same manner,
will answer the same purpose, washing in water and finally
drying by gentle friction with a linen rag ; but as this sub-
stance is very poisonous, it is not to be recommended for
household uses. Gilt frames of pictures, mirrors, etc., should
never be touched with anything but clean water, gently applied
with a soft sponge or brush.

To Clean Brass. — Make a mixture of one part common
nitric acid and one half part sulphuric acid in a stone jar;
then place ready a pail of fresh water and a box of sawdust.
Dip the articles to be cleaned in the acid, then remove them
into the water, after which rub them with sawdust. This
immediately changes them to a brilliant colour. If the brass
is greasy it must be first dipped in a strong solution of potash
and soda in warm water. This cuts the grease so that the
acid has the power to act.

To Clean Nickel. — Nickel silver mounts and ornaments
can be kept bright by rubbing with a woollen cloth saturated
with spirits of ammonia.

Chinese Gold Lacquer. — An imitation of this lacquer
may be prepared by melting two parts of copal and one of
shellac until thoroughly mixed, and adding two parts of hot
boiled oil. Then remove from the fire and gradually add ten
parts of oil of turpentine. To colour, add gum gutta for yellow
and dragon's blood for red, dissolved in turpentine.

MISCELLANEOUS. 275

Preservation of Bronze. — The ugly blackish mass with
which most monuments of gun-metal are coated over in such
a way as to make them look as if they were made of cast iron,
does not consist of sulphuret of copper, as people generally
imagine, but of a mixture of coal, sand, etc., with the bronze
oxides. The coating referred to cannot be removed either by
mechanical means or by washing the surface with reduced
sulphuric acid, but an excellent result may be obtained by
washing the surface with a concentrated solution of carbonate
of ammonia. By this means a coating of platina is formed
which prevents the ugly blackish mass heretofore alluded to
from making its appearance again on the outside of the
monument. It stands to reason that skilled and experienced
hands are wanted to perform the operation. If, however, it
does not prove successful, Herr Briihl says that Magnus' pro-
cess might be resorted to, which consists in rubbing the sur-
face of the monument repeatedly, at intervals of several
weeks, with a solution of 20 parts of crystallizing acetic acid
in 100 parts of neat's-foot oil. By the protoxides of copper
and the oleic acid that arise from this, a thin green coating
is produced, which prevents dirt and dust from sticking to the
surface of the article, and, moreover, involves the formation
of a coating of platina, without which bronzes exposed to
oxidation in the open air are never likely to remain in a good
state of preservation.

Gilding Solution. — A durable and beautiful gilding solu-
tion is thus described: — Crystallized phosphate of soda, 60
parts ; 10 of bisulphate of soda ; 1 of cyanide of potassium ;
2|- of chloride of gold ; and 1,000 of distilled or rain water —
by weight. To prepare this bath properly the water is divided
into three portions, viz., one of "00 and two of 150 each.
The sodic phosphate is dissolved in the first portion, the
chloride of gold in the second, and the bisulphide of soda and
cyanide of potassium in the third. The first two portions are
gradually mixed together, and the third is afterwards added.
With this solution the artisan uses a platinum anode — a wire
or strip — adding fresh portions of the gold salt as the solu-
tion becomes exhausted.

276 THE PRINTERS' HANDBOOK.

Substitute for Gold Bronze. — According to experi-
ments, metavanadic acid may be used in the preparation
of a substitute for genuine gold bronze. If a solution of
sulphate of copper and sal ammoniac is mixed with vana-
diate of ammonia and cautiously heated, there is obtained
a compound of a splendid gold colour, which is deposited
from the liquid in the form of gold-coloured spangles. These
readily admit of being ground up with gum and varnishes,
cover well, do not change on exposure to the air, and
are in every respect equal to gold bronze. Vanadium also
yields a series of very fine colours especially adapted for
painting on porcelain.

Dead Gilding. — A foreign scientific paper, in an article
on colour in electro-gilding, says that a dead gilding will be
produced by the addition of a little of the fulminate of gold
in solution to the bath immediately before gilding, or by
dipping the article (brass or copper) before gilding in a mix-
ture of sulphuric and nitric acids.

To Remove Nickel Plate. — Nickel plating can be
removed from brass or iron by placing in a solution of not too
dilute hydrochloric acid, more readily in hot than in cold. Hot
dilute sulphuric acid dissolves it with some difficulty. Dilute
nitric acid operates more quickly.

A Rubber Lubricator for Belts. — Five parts of
india-rubber are cut fine and melted together with five parts
oil of turpentine, in a well-covered iron vessel, to which are
added four parts of resin. This is stirred thoroughly and
melted, and four parts of melted wax mixed with the same,
the mass being constantly stirred while melting. This com-
position in its warm state is added, with constant stirring, to
a melted mixture of some fifteen parts offish oil and five parts
of tallow, and the whole agitated until it has congealed. The
compound is applied to old belts upon both sides in a warm
place, and, when the belts are in use, from time to time upon
the inner side.

MISCELLANEOUS. 277

To Soften Rubber Rings. — Rubber rings that have
become hard and useless can, it is said, have their elasticity
restored by being placed for half an hour in a solution of
water and ammonia — about twice as much of the latter as of
the former.

Impervious Rubber Packing. — This may be made
steam and air-tight by brushing it over with a solution of
powdered resin in ten times its weight of strong water of
ammonia. At first this solution is a viscid, sticky mass,
which, however, after three or four weeks becomes thinner
and fit for use. The liquid sticks easily to rubber as well as
to wood and metal. It hardens as soon as the ammonia
evaporates, and becomes perfectly impervious to liquids.

India-rubber Oil. — One of the recent inventions is an
india-rubber oil, designed to protect the surface of iron from
rust. To obtain it the rough oils resulting- from the distilla-
tion of brown coal, peat, or other bituminous substances are
subjected to further distillation; thinly-rolled india-rubber, cut
into small strips, is saturated with a four-fold quantity of this
oil, and is allowed to stand for eight days ; the mass, thus
composed, is subjected to the action of vulcan oil, or a similar
liquid, until a homogeneous, clear substance is formed. On
the application of this substance — in as thin a form as pos-
sible— to a metal surface, it forms, after slow drying, a kind
of skin, which, as alleged, insures absolute protection against
atmospheric influences, the durability of the covering being
also another advantage in its favour.

Using New Pens. — The ink will flow freely from new
pens if they are passed before using two or three times
through a gas flame to remove the grease with which they
are coated.

Indelible Pencils. — Take kaolin, eight parts ; finely-
powdered manganese dioxide, two parts ; silver nitrate, three
parts ; mix and knead intimately with distilled water, five
parts. Then dry the mass and enclose it in wood.

2 78 THE PRINTERS' HANDBOOK.

Making Rubber Stamps. — Have a vulcanizing appa-
ratus with a thermometer and a lamp under it, such as den-
tists use ; have an iron printing frame in which you lock up
the type for all the names which you wish to reproduce in
rubber, and of such a size that the plaster mould made from
it can be placed inside the vulcanizer. This mould is made
like an ordinary stereotype mould, by first oiling the type
and then pouring the plaster over it ; when set, take it off
carefully, and do not let it dry, but proceed at once by placing
on top of the mould a piece of sheet-rubber (not pure rubber,
as this is too sticky, but vulcanized, and mingled with sul-
phur and soap stone). Then have two iron plates, one for
placing on top of the sheet rubber and one below the plaster
mould, and which by proper screws can press together and
squeeze the rubber on the mould. Back up the rubber with a
few sheets of paper, so as to prevent it from sticking at the back
of the iron plate. After screwing down sufficiently, immerse
the mould and rubber in the water in the vulcanizer, screw the
cap on, and heat to 300 deg. Fahr., then let it cool, open the
vulcanizer, take out the mould and rubber, and remove the
rubber carefully. This will be easily done if you have put
the mould, while still wet, in the vulcanizer. Cut up the
rubber so as to separate the various names, glue them to
handles, and your rubber hand-stamps are ready. This is
the regular method, and if you are not satisfied with the im-
pression given it is the fault of the manipulation. Such
stamps give as clear an impression as can possibly be desired
— as clear as metal type. But in printing with them you
must apply a slight pressure only ; the best rubber type can
be made to give bad impressions by defective inking and
rough manipulation in printing.

To Dissolve Rubber. — The best method of dissolving
odds and ends of sheet india-rubber is in a mixture of methy-
lated ether and petroleum spirit or benzoline. The general
method of using up old india-rubber is by heating it with
steam, under which the sulphur discharges, the rubber melts,
runs into hot water, and collects at the bottom of the pit, the
vapour preventing it from burning.

MISCELLANEOUS. 279

To Vulcanize Rubber. — The following is a new method
of vulcanizing rubber : — For vulcanizing india-rubber there is
generally employed a bath of sulphur and steam under pres-
sure. Someone has conceived the idea of substituting a con-
centrated solution of calcium chloride capable of furnishing a
constant temperature of from 150 to 160 degrees. The ad-
vantages of this are very important, and may be summed up
as follows : — ( 1 ) There is no modification required in the appa-
ratus at present existing in factories ; (2) the iron plate vats
not being exposed to burning, last much longer ; (3) the
capital invested in the bath is insignificant compared with
that required by the sulphur bath — sulphur, in fact, costs in
Paris about 200 francs per ton, while calcium chloride is but
80 francs ; (4) the daily consumption of the chloride, when
the bath has once been prepared, is almost nothing, since this
salt is fixed and indecomposable, while with sulphur there is
a continual consumption on account of its volatilization and
accidental combustion; (5) as a consequence of the suppres-
sion of the vapours of sulphur and sulphurous acid in the
works the manufacture has no bad influence upon the health
of the workmen ; (6) there is no danger of fire, and con-
sequently the insurance rates are lower; (7) the apparatus
lasts longer, since the iron employed for locking the moulds
no longer has sulphur to combine with and make it brittle ;
(8) the consumption of fuel is reduced by about two-thirds,
since the bath has a powerful calorific capacity, and the vats
may be heated by an open fire ; (9) finally, as the boiling is
much gentler and more regular, it gives products of superior
quality, and little or no waste, on account of the facility that
exists of always keeping the bath at a temperature of between
150 and 155 degrees.

Manufacture of Steel Pens. — Steel used for making
pens reaches the factory in sheets about two feet long by one
foot three inches wide, 0.004 inch thick. They are cut into
bands of different widths, according to the dimensions of the
pen required, the most usual widths being two, two and one-
half, and three inches. The bands are then heated in an iron
box and annealed, when they are passed on to the rolls and

28o THE PRINTERS' HANDBOOK.

reduced to the desired thickness of the finished pen, thus being
transformed into ribbons of great delicacy, about four feet
long. The blanks are then stamped out from the ribbons by
a punching machine, the tool of which has the form of the
pen required. The blanks leave the die at the lower part of
the machine, and fall into a drawer with the points already
formed. They are then punched with the small hole which
terminates the slit, and prevents it from extending, and after-
ward raised to a cherry-red heat in sheet-iron boxes. The
blanks are then curved between two dies, the concave one
fixed and the convex brought down upon it by mechanism.
The pens, now finished as regards their form, are hardened
by being plunged, hot, into oil, when they are as brittle as
glass. After cleansing, by being placed in a revolving barrel
with sawdust, they are tempered in a hollow cylinder of sheet
iron, which revolves over a coke fire after the manner of a
coffee roaster. The cylinder is open at one end, and while
it is being turned, a workman throws in twenty-five gross of
pens at a time, and watches carefully the effect of the heat
on the colour of the pens. When they assume a fine blue
tint, he pours the pens into a large metal basin, separating
them from one another, to facilitate the cooling. After this
process, which requires great skill and experience, comes the
polishing, which is effected in receptacles containing a mix-
ture of soft sand and hydrochloric acid, and made to revolve.
This operation lasts twenty-four hours, and gives the pens a
steel-grey tint. The end of the pen, between the hole and
the point, is then ground with an emery wheel, revolving very
rapidly. There only now remains to split the pens, which is
the most important operation, being performed by a kind of
shears. The lower blade is fixed, and the upper one comes
down, with a rapid motion, slightly below the edge of the fixed
blade. To give perfect smoothness to the slit, and at the
same time make the pens bright, they are subjected to the
operation of burnishing by being placed in a revolving barrel
almost entirely filled with boxwood sawdust.

To Render India-rubber Gas Tubes Odourless. —
It is well known that all rubber tubing soon becomes dis-

MISCELLANEO US. 28 1

agreeable from the gas that slowly permeates it and escapes
from its surface. The following is given by a German scien-
tific journal as a remedy for the disagreeable property of this
very useful adjunct to portable gas-lamps. The method con-
sists in mixing ordinary alcohol of about 36 per cent, with an
equal volume of genuine linseed oil, shaking well until they
are intimately mixed, and then applying the mixture to the
tube. This is done' by pouring a few drops upon a small rag
and rubbing it upon the tube, which should be moderately
stretched, and rubbed until it is quite dry, which takes but a
few minutes. The oily mixture is to be applied three or four
times at intervals of a few days. This treatment is said to
render the tube perfectly gas-tight and odourless without
destroying its elasticity or colour.

Plumbago in Lead Pencils. — The plumbago used in
the manufacture of lead pencils is made into a hard form by
mixing with clay in various proportions according to the hard-
ness required, and baking in an oven.

How to Make Metallic Writing Pencils. — These

are made of an alloy of lead, bismuth, and quicksilver. The
ingredients vary according to the desired degree of hardness.
The ordinary proportions are : lead 70, bismuth 90, and
quicksilver 8 parts by weight. A larger proportion of lead
and quicksilver makes the pencil softer, and produces darker
marks in writing. The lead and bismuth are melted together
and allowed to cool somewhat, when the quicksilver is added,
and the composition cast in proper moulds.

A Home-made Fountain Pen. — Take two ordinary
steel pens of the same pattern and insert them in the com-
mon holder. The inner pen will be the writing pen. Between
this and the outer pen will be held a supply of ink, when they
are once dipped into the inkstand, that will last to write
several pages of manuscript. It is not necessary that the
points of the two pens should be very near together, but if
the flow of ink is not rapid enough the points may be brought
nearer by a small piece of thread or a minute rubber band.

282 THE PRINTERS' HANDBOOK.

Rubber-Stamp Moulds. — Moulds for rubber stamps
are made of plaster of Paris, The rubber is pressed in with
a small press or clamp, then placed in a small vulcanizing
oven heated by steam or a furnace to a temperature from
about 250 to 275 degrees.

Colouring of Pencils. — The colouring matter of crayon
pencils is derived from various sources. Red is mineral red
chalk, and blue is soluble Prussian blue with whiting, and so
on according to the tint or colour required. You can buy
them much cheaper than you can make for yourself.

To Render Pencil Notes Indelible. — Pencil notes
found in a book, or placed there as annotations, may be ren-
dered indelible by washing them with a soft sponge dipped in
warm vellum size or milk.

Counting Lead Pencils. — In factories where pencils
are made in numbers, a simple method of counting has been
devised, with a view to saving time and trouble. Strips of
wood are employed, having in each 144 grooves, and the
workmen, taking up a handful of pencils, rapidly rub them
along the board once and back, thus filling all the grooves in
which the pencils lie, similarly to pens on a rack. In five
seconds a gross may thus be counted, without the least like-
lihood of making a mistake, and much time and labour are
saved.

Composition of Coloured Pencils. — The first four
grades are as follows : —

No. 1. No. 2.

Very soft. Soft.

Aniline... 50 parts. 46 parts.

Graphite 37.5 „ 34

Kaolin ... 12.5 „ 24 „

For purple an aniline violet is used ; for
various shades of aniline. The cheaper qualities of coloured
pencils consist simply of the colouring material mi.\ed with
kaolin or clay.

No.

No. .

Hard.

Very

hard.

30 parts.

25 parts.

})

ed;

for

other

colours

MISCELLANEOUS. 283

How Common Crayons are Made. — The process of
manufacture of the common chalk, or school crayon consists
of mixing equal parts of washed pipeclay and washed chalk
into a paste with sweet ale made hot, into which a chip or two
of isinglass has been dissolved. This paste is rolled out with
a rolling pin, cut into slips, then rolled into cylinders by
means of a small piece of flat wood, cut into lengths, and
finally placed in a slow oven or drying stove until hard.

Pencils for Glass and Porcelain. — Pencils for
these purposes are produced in the following manner : —
1. Black pencils — 10 parts of the finest lampblack, 40 parts
of white wax, and 10 parts of tallow. 2. White pencils — 40
parts of Kremser white, 20 parts of white wax, and 10 parts
of tallow. 3. Light blue pencils — 10 parts of Prussian blue,
20 parts of white wax, and 10 parts of tallow. 4. Dark blue
pencils — 15 parts of Prussian blue, 5 parts of white wax, and
10 parts of tallow. 5. Yellow pencils — 10 parts of chrome
yellow, 20 parts of white wax, and lO parts of tallow. The
colour is mixed with the body of the wax and tallow warm,
triturated, exposed to the air for drying, so that the mass can
be pressed by means of a hydraulic press into round pencils
in the same way as lead pencils are formed. The pencils are
dried after pressing by exposing them to the air, until they
have the proper consistency, and are then glued into the wood.

The Lead Pencil. — There is no pencil lead, and there
has been none for fifty years. There was a time when a
spiracle of lead, cut from the bar or sheet, sufficed to make
marks on white paper, or some rougher abrading material.
The name of lead pencil came from the old notion that the
products of the Cumberland mines were lead, instead
of being plumbago, or graphite, a carbonate of iron
capable of leaving a lead-coloured mark. With the original
lead pencil or slip, and with the earlier styles of the " lead "
pencil made direct from the Cumberland mine, the wetting of
the pencil was a preliminary to writing. But since it has
become a manufacture the lead pencil is adapted, by numbers
or letters, to each particular design. There are grades of

284 THE PRINTERS' HANDBOOK.

hardness, from the pencil that may be sharpened to a needle
point, to one that makes a broad mark. Between the two
extremes there are a number of graduations that cover all the
conveniences of the lead pencil. These graduations are made
by taking the original carbonate and grinding it, and mixing
it with a fine quality of clay in differing proportions, regard
being had to the use of the pencil. The mixture is thorough,
the mass is squeezed through dies to form and size it, is dried,
and incased in its wood envelope.

Composition for Crayons. — A newly patented com-
position consists of: — Water, 8 lbs.; kaolin, 15 lbs.; wheat-
flour, 1 lb. ; soapstone, 1 lb. ; Paris white, 45 lbs. A thick
paste is made of flour and water, which is dissolved in 8 lbs.
of warm water, the other ingredients being thoroughly mixed
therein by agitation. The water is pressed out of this com-
position, which is squeezed through dies of suitable shape.
The crayons harden by exposure to the air. This composition
makes a crayon that does not require heat to harden, is free
from dust, white in colour, and, by varying the proportions,
can be made in colours by colouring the water.

Transferring Design for Embroidery. — A method
has been devised for transferring a design on a tissue to
be embroidered. A mixture is made of printers' ink, gly-
cerine, and wax, and the design printed in it on a sheet of
paper which has been folded, a solution of stearine and wax
having been applied between the folds. The paper is then
placed over the material upon which the design is to be trans-
ferred, and is pressed by means of a smoothing bone.

Oil Painting on Terra Cotta. — Now that decorative
art is much patronized, the following may prove interesting
to amateurs : — Upon terra cotta of a light tint the design is
drawn with a lead pencil ; upon that of a dark tint use the
coloured impression paper. Place the article between piles
of books, or fill a box with sand, and lay or stand it into
this in the position required ; see that the right arm rests
upon an even plane with the article to be decorated. A

MISCELLANEOUS. 285

terra-cotta medium is made from a small quantity of gum
arabic dissolved in water, to which is added a little syrup ;
go over the entire article with a flat brush dipped into the
medium ; when dry, repeat the wash. When dry, the article
is ready for the oil colours. Mix these with flake white. Lay
the colours on fairly thick and let them dry for some hours,
then tint and finish with the colours necessary without the
flake white. When finished and quite dry, varnish with copal
or mastic. The artist should have at hand two or three fine oil
brushes and a flat brush, and the necessary colours. Those
being indispensable are the following : black, burnt light ochre,
terra di sienna, Indian red, and flake white. The artist is re-
minded that vases of antique shape look best when decorated in
antique designs.

Enamel for Iron. — A good enamel coating for cast
iron, wrought iron, or steel, one that will not crack on being
subjected to moderate changes of temperature, has long been
a desideratum, and this is now claimed to have been dis-
covered. In the case of an opaque enamel being required,
as, for instance, a basis for vitrified photographs, about 8 parts
of oxide of tin are to be added. About 125 parts by weight
of ordinary flint-glass fragments, 20 parts of carbonate of
soda, and 1 2 parts of boracic acid are melted together, and
the fused mass poured out on some cold surface, as of stone
or metal. When this has cooled sufficiently it is pulverized,
and a mixture made of the powder, together with a silicate of
soda of 50° R. With this substance the metal is glazed and
heated in a muffle or other furnace until it is fused. This is
said to prove an effective application for the purpose as com-
pared with other methods, and at least possesses the great
advantage of simplicity.

To Protect Brass against Acids. — Melted paraffin
wax will effectually protect brass from the action of nitric acid.

Taking Out Writing Ink. — Common writing ink may
be removed from paper without injury to the print by oxalic
acid and lime, carefully washing it in water before restoring
it to the volume.

286 THE PRINTERS' HANDBOOK.

Modelling Wax. — This wax, such as sculptors some-
times use for modelling small figures, etc., is made of white
wax melted and mixed with lard to make it workable. In
working it the tools used, the board or stone, are moistened
with water to prevent its adhering : it may be coloured to
any desired tint with a dry colour.

Crystallotypy. — A novel process has been published of
producing artificial tint plates. The name " Crystallotypy "
is given because the production of the artificial plates depends
upon a crystallizing of certain salts, poured in a dissolved con-
dition upon a level glass plate. By it are secured designs
like frost work seen in winter upon the window panes, and if
impressions are made to transfer paper with a type-printer's
roller such designs may be transferred to stone. The fol-
lowing recipe is given : — Take either 200 parts of water and
20 parts of sulphate of copper, or same proportions of either
water and red prussiate of potassa, or of water and alum, or,
finally, of water and bichromate of potassa, cover with the
solution a level and perfectly well-cleaned glass plate, and a
few hours are sufficient to cause the water to evaporate and
the design to appear. Instructions are also given how elec-
trotypes may be made from such plates. The idea is cer-
tainly worthy of notice.

Artificial Dextrine. — Two parts nitric acid to 300 parts
of water, mix with l,ooo parts of dry starch. This mixture
is then subjected to heat. It may also be produced by heat-
ing starch with diastase, a peculiar azotized substance con-
tained in malt, which effects the conversion of starch, first into
dextrine, then into grape sugar.

Colouring Photographs. — A new process has been
patented. This consists of immersing the photographs
in a solution of naphtha, paraffin, mastic drops, ether, and
vinegar, and applying to the back in oil paint the desired
shade and tone, and also applying a mixture of glue and
glycerine to the back, and pressing the back to canvas until
cohesion takes place, whereby the whole picture will be

MISCELLANEOUS. 287

flexible, and have the appearance of having been painted on
canvas.

Prevention of Frost on Glass. — A good many sug-
gestions, all more or less practicable, have been made how to
prevent frost on windows. A very thin coat of glycerine
applied on both sides of window glass will prevent any
moisture forming thereon, and will stay until it collects so
much dust that you cannot see through it ; for this reason it
should be put on very thin. If used on a looking-glass you
can shave yourself in an ice-house and the glass will not show
your breath. Doctors and dentists use it on small glasses
with which they examine the teeth and throat. Surveyors
use it on their instruments in foggy weather, and there is no
film to obstruct the sight. Locomotive engineers have used
it as a preventive of the formation of frost. In fact, it can be
used anywhere to prevent moisture from forming on anything.
It does not injure the usefulness of field glasses, etc.

Waterproofing Material. — Basic silicate of alumina is
said to be far better than tungstate of soda, because it does
not require, like the latter, frequent renewals.

Imitation Ivory Casts. — A foreign scientific paper says
that by painting a plaster cast with yellow beeswax dissolved
in turpentine it will in a short time be hardly distinguishable
from ivory.

Imitation of Ground Glass. — A good result may be
obtained by brushing (dabbing) the glass lightly with a solu-
tion obtained by boiling a teaspoonful of rice in a pint of water
for half an hour.

Another Method of Imitating Ground Glass. —
This can be produced by dissolving about two tablespoonfuls
of Epsom salts in a pint of ale and painting the glass with
the mixture. When it is dry the glass will appear as if
frosted.

288 THE PRINTERS' HANDBOOK.

Cloth Tracings. — A correspondent of an industrial
journal refers to the difficulties encountered in tracing upon
cloth or calico, especially the difficulty of making it take the
ink. In the first place the tracing should be made in a warm
room or the cloth will expand and become flabby. The ex-
cess of glaze may be removed by rubbing the surface with
chamois leather on which a little powdered chalk has been
strewn, but this practice possesses the disadvantage of
thickening the ink, besides making scratches which detract
from the effi^ct of the tracing. The use of ox-gall, which
makes the ink " take," has also the disadvantage of frequently
making it " run," while it also changes the tint of the colours.
The following is the process recommended : — Ox-gall is
filtered through a filter-paper arranged over a funnel, boiled,
and strained through fine linen, which arrests the scum and
other impurities. It is then placed again on the fire, and
powdered chalk is added. When the effervescence ceases the
mixture is again filtered, affording a bright colourless liquid if
the operation has been carefully performed. A drop or two
must be mixed with the Indian ink. It also has the pro-
perty of effacing lead-pencil marks. When the cloth tracings
have to be heliographed raw sienna is also added to the ink,
as this colour unites with it the most intimately of any, be-
sides intercepting the greatest amount of light.

Leaf Photographs.— A very pretty amusement is the
taking of leaf photographs. One process is this : — Put an
ounce of bichromate of potassium into a pint bottle of water.
W^hen the solution has become dissolved, pour off some of the
clear liquid into a shallow dish ; on this float a piece of
ordinary writing paper till it is thoroughly moistened. Let it
become dry in the dark ; it should be of a bright yellow. On
this put the leaf — under it a piece of soft black cloth and
several sheets of newspaper. Put these between two pieces
of glass (all the pieces should be of the same size), and with
spring clothes-pins fasten them together. Expose to a bright
sun, placing the leaf so that the rays will fall as nearly per-
pendicular as possible. In a few moments it will begin to
turn brown, but it requires from half an hour to several hours

MISCELLANEOUS. 289

to produce a perfect print. When it has become dark enough,
take it from the frame and put it in clear water, which
must be changed every few minutes until the yellow part be-
comes white. Sometimes the leaf veinings will be quite dis-
tinct. By following these directions it is scarcely possible to
fail, and a little practice will make perfect.

Translucent Pictures.— A new method of making
" linophanies," or translucent pictures, comprises the follow-
ing processes : — Paper pulp, white or coloured, in a liquid or
semi-liquid state, is poured into a mould, usually of metal,
the bottom of which is engraved to form or produce the de-
sired design or picture. Enough pulp must be poured in to
leave a thin film of paper over the highest lines of the en-
graved surface, when the pulp is dried, as will be hereinafter
described. Those portions of the engraving which correspond
to the dark shades of the picture are cut deeper than those
which correspond to the lights, the depth varying with the
depth of the shade. Upon the paper pulp in the mould is
spread a piece of gauze, fine linen, or other similar material
that will not adhere to the pulp, but will permit the passage
of water, and on this is placed blotting paper in one or more
layers, the whole being subjected to pressure in an ordinary
press. The blotting paper thus absorbs the greater portion
of the water from the pulp, and the latter is pressed into all
the finer lines of the engraving. For the blotting paper any
other absorbent material — as some kinds of felt — may be sub-
stituted. After removing the mould from the press the
blotting paper and the linen or gauze separating material are
removed and the mould containing- the partially dried pulp is
subjected to artificial heat, as in a stove or kiln, to dry out the
remaining moisture. The dried paper pulp is now removed
from the mould, and will be found to consist of a continuous
imperforated paper leaf bearing the design or picture, which will
be fully brought out when the sheet is held up between the
eye and a strong light. The thinner portions of the sheet
will represent the lights of the picture, and the thicker (and
less translucent) portions will represent the shades. The
picture or ornament thus produced is called a " linophany,"

290 THE PRINTERS' HANDBOOK.

and may be employed for lamp or gas shades, for transparent
pictures for windows, etc., or, indeed, for any ornamental
purposes to which such a picture or design is adapted. In
lieu of using artificial heat to dry the pulp in the mould it may
be dried by the natural evaporation of its moisture. The
mould is usually engraved, but the design may be formed in
any way — as by pressure from a hardened relief-plate.

How to Preserve Pencil Sketches. — The pencil
drawings of mechanical draughtsmen and engineers may be
rendered ineffaceable by a very simple process. Slightly warm
a sheet of ordinary drawing paper, then place it carefully on
the surface of a solution of white resin in alcohol, leaving it
there k)ng enough to be thoroughly moistened ; afterwards
dry it in a current of warm air. Paper prepared in this way
has a very smooth surface, and in order to fix the drawing the
paper is to be simply warmed for a few minutes. This pro-
cess may prove useful for the preservation of plants or designs
when the want of time or any other cause will not allow of the
draughtsman reproducing them in ink. A simpler method
than the above, however, is to brush over the back of the
paper containing the charcoal or pencil sketch with a weak
solution of white shellac in alcohol.

Photographic Printing in Colours. — In this pro-
cess it is necessary to use coloured negatives — that is, ordinary
negatives that have been hand-painted in the required tints
with transparent colours, (i) Take a piece of ordinary sen-
sitized paper, and wash it to remove any free silver nitrate.
(2) Place the washed paper in a solution of protochloride of
tin, and expose to weak light until the silver chloride is re-
duced to subchloride, and the paper assumes a uniform grey
colour. (3) Float the paper in a mixed solution of chromate
of potash and sulphate of copper, and dry in the dark. The
paper is now sensitive to all the colours of the spectrum, and
loy printing on it with a coloured negative the colours of the
negative will be reproduced. After printing, wash with cold
water, and dry.

MISCELLANEOUS. 291

Spatterwork. — A new and somewhat attractive sort
of ornamental work is to be seen in some stationers' shops.
The materials are delicately formed leaves, as vines, ferns,
rose, geranium, or maple, and ornamental letters cut from
printed matter. Press the leaves carefully till quite flat.
For implements all that are needed are an old tooth-brush, a
flat board, and white or tinted paper. Arrange your pressed
leaves or letters on your paper, fastening down firmly with
fine needles, which wipe after using, dip the brush in the dye,
and, holding a sieve over your pattern, rub carefully at first over
the wires, making it heavy or light as desired. Let the leaves
and letters dry, then remove, and they can be used again.
That is all. Anyone who has not seen this work will be sur-
prised at the beautiful effects from so simple a process. For
working with paper, use any colours that will not dry and
rub off. Beautiful crosses, shaded and twined with pressed
vine, with ferns at the base, can be easily made after a little
practice ; also wall-pockets, letter-holders, and comb-cases.
Old cigar-boxes, covered neatly and carefully spattered, are
very ornamental.

A New Method of Mounting Prints on Cloth.
— Prepare several yards of cloth at a time by sizing with
starch, and always keep a roll of it on hand ready for use.
While damp the cloth is stretched (not too tightly) on a frame,
and sized plentifully with warm starch paste, made rather
thin and spread on evenly. When dry cloth is cut to the
size required before mounting (allowance being made for the
expansion of the prints), if the starch for mounting be used
while warm (which is preferable), it should be as stiff as can
be conveniently spread on the print, for the reason that it will
expand the cloth less and dry quicker. From the moment the
first print touches the cloth despatch is important ; therefore
both prints are first pasted, one being laid aside ready to be
picked up quickly. The first print is rubbed down more expe-
ditiously with a hand-roller than with the hands. When the
second print is properly laid on there is less occasion for haste,
and rubbing down by hand is preferable, because, although the
roller does the work perfectly on the first print mounted, it is

292 THE PBINTERS' HANDBOOK.

liable to leave air-bubbles in rolling down the second one. To
avoid bubbles the hand-rubbing should be towards the middle
of the print, and not in every direction from the centre.
When the mounting is completed, the prints are placed be-
tween papers and covered immediately with several folds of
cloth of sufficient weight to keep them in place. To facilitate
drying they may be aired after an hour or two, and placed
between dry papers, and again covered with the cloth.

Ormolu. — The ormolu of the brass founder, popularly
known as an imitation of red gold, which is extensively used
by French workers in metals for artistic and decorative work,
is composed of copper and zinc. A greater proportion of
copper and less zinc is used in its preparation than in making
ordinary brass. It can be readily cleansed with acid, and can
be burnished with facility. To give this material a rich
appearance it is not unfrequently brightened up after " dip-
ping " — that is, cleansing in acid — by means of a scratch
brush (a brush made of fine brass wire), the action of which
helps to produce a brilliant gold-like surface. It is protected
from tarnish by the application of lacquer.

Cleaning Powder for Show-Windows. — A good
one, which leaves no dirt in the joints, is prepared by
moistening calcined magnesia with pure benzine, so that a
mass is formed sufficiently moist to let a drop form when
pressed. The mixture has to be pressed in glass bottles
with ground stoppers, in order to retain the easily volatile
benzine. A little of the mixture is ]:)laced on a wad of cotton
and applied to the glass plate. It may also be used for
cleaning mirrors.

How to Bronze a Plaster Cast. — A scientific con-
temporary says the best way is to go over the figure with
isinglass size until it holds wet, or without any part of its sur-
face becoming dry ; then with a brush go over the whole,
taking care to remove, while it is yet soft, any of the size that
may lodge on the delicate parts of the figure. When it is
dry take a little thin oil gold size, and with as much as just

MISCELLANEOUS. 293

damps the brush go over the figure with it, allowing no more
to remain than causes it to shine. Set it aside in a dry place
free from smoke, and in forty-eight hours the figure is pre-
pared to receive the bronze. After having touched over the
whole figure with the bronze powder, let it stand another day,
and then with a soft dry brush rub ofFall the loose powder, par-
ticularly from the points or from the more prominent parts of
the figure.

How to Clean Chamois Leather. — When a chamois
skin gets into a dirty condition, rub plenty of soft soap into it,
and allow it to soak for a couple of hours in a weak solution
of soda and water, rubbing it till it appears quite clean. Now
take a weak solution of warm water, soda, and yellow soap,
and rinse the leather in this liquor, afterwards wringing it in
a rough towel, and drying it as quickly as possible. Do not
use water alone, as that would harden the leather and make
it useless. When dry, brush it well and pull it about ; the
result will be that the leather will become almost as soft as
fine silk, and will be to all intents and purposes far superior to
most new leathers.

Lustra Painting. — Lustra painting is an invention for
household decoration, lately introduced by an artist of re-
pute, and belongs, by reason of its facility of manipulation
and its demands upon refined and delicate taste, to feminine
hands. It may be used for almost everything susceptible
of ornamentation — altar cloths, ladies' dresses — and takes
the place of expensive embroidery, at only a fraction of
its time and cost. It can be applied to every fabric from
velvet to linen — for curtains, screens, portieres, dados, friezes,
wall panels, and ladies' flounces, and also to wood and
the various articles made of terra cotta. The colours are
prepared from metallic bases, but the fabrication of them is
a secret resting with the inventor. The lustra colours are all
dry and are mixed on a peculiar palette with little saucer-like
hollows to hold them in fluid form. They are used with a
colourless medium, a bottle of which accompanies each box.

294 THE PRINTERS' HANDBOOK.

The material requires no preparation. The colours once laid
on are firm. Used on linen it may be washed, always, how-
ever, on the reverse side, and with brushing instead of rub-
bing. This art has the advantage over needlework of being
infinitely quicker of execution and far less expensive in
material.

"Graph" Process with Printers' Ink. — Make the
ordinary pad with glue and glycerine, only using a larger
proportion of gelatine. For ink take a concentrated solution
of alum coloured with any aniline dye to render the marks
visible, and execute the drawing or writing on good stiff
paper. Then wipe the pad with a damp sponge, and allow
the moisture to remain a few minutes to make the surface
sufficiently absorbent. Now place the paper, face down, on
the pad. After a few minutes remove the paper, and the
writing or drawing is transferred to the pad ready for print-
ing. This is done by applying printing ink to the surface by
means of an india-rubber roller, the ink adhering only to the
lines made by the alum solution. To take the impression,
place upon the pad a sheet of paper, slightly damped, and
gently rub it with the fingers. Remove the paper, which is
now printed, ink the pad again, and keep on in the same
way as long as the impression is sharp enough. A large
number of copies may thus be taken, of a good black, and as
permanent as ordinary printing.

Cheap and Effective Window Signs. — A glass
window or door may be very effectively lettered at a merely
nominal cost in the following manner: — The wording is to be
set up in type in the style and of the size required, pulled, and
a rough impression affixed to the outside of the glass. From
a second impression the letters are separately cut out and
carefully pasted on the inside glass, using the outside and
loosely-affixed impression as a guide for position. If air-
bubbles form they must be carefully rubbed out. If difficult
to get rid of, a pin-prick will let out the air, and a little
pressure while the paste is still wet will cause them to
entirely disappear. When perfectly dry the pasted-on letters

MISCELLANEOUS. 295

are to receive a coat of ordinary size, and to make quite
certain of good work a second coat should be applied after
the first has thoroughly dried. The paste and size that have
splurged over and dried on the glass are to be carefully
removed with a damp cloth. Now get a chemist or oilman
to rub down some oxide of zinc in some linseed oil in such
proportions that the mixture will assume the consistency of
cream. Paint the mixture on the inside of the glass over the
entire surface, including the backs of the letters. If it dries
streaky a second coat may be applied after the work is
thoroughly set, when the streaks will completely disappear.
As the impressions were originally printed, so the sign will
show in black or red, or both, and the groundwork will appear
of a French grey. Lettering done in this manner will last a
century.

Tinting Maps. — Maps, as well as architects' and engi-
neers' designs, plans, sections, drawings, etc., may be tinted
with any of the simple liquid colours, preference being given
to the most transparent ones, which will not obscure the lines
beneath them. To prevent the colours from sinking and
spreading, which they usually do on common paper, the paper
should be wetted two or three times with a sponge dipped in
alum water (three or four ounces to the pint), or with a solu-
tion of white size, observing to dry it carefully after each
coat. This tends to give lustre and beauty to the colours ;
the colours for this purpose should also be thickened with a
little gum water. Before varnishing, two or three coats of
clean size should be applied with a soft brush, the first one to
the back.

Photo-Zincotypes in Colours. — A new process for
coloured prints, called " photo-chromotypes," has been per-
fected by Angerer & Goschl, of Vienna. The principle is similar
to the coloured " lichtdruck." First, photo-lithographs are
made from the picture to be multiplied, which serve to some
extent as copies for the draughtsman. The latter works up
first only such parts as are to be yellow; upon a second sheet
those only intended to be blue, and so on. Negatives are

296 THE PRINTERS' HANDBOOK.

produced which show only a picture of the blue parts, others
for yellow, red, etc. From these negatives zinc printing-
plates are etched in half-tone, and the rest of the manipulation
is the same as the fitting of the several colour stones in
chromo-lithography.

To Remove Ink-Spots from Cloth, etc. — The
chemical agents generally used are chloride of lime and oxalic
acid, but these are not without danger to delicate fabrics. A
better detergent is a lye of pyro-phosphate of sodium. There
is a proceeding still more simple, which only demands a little
care, but which can be employed successfully in materials of
fine texture and faint colours. Drop a little melted tallow on
the spot of ink, before putting the article into the wash-tub,
and then add a good lye of soda. In attacking the grease the
lye will also remove the ink.

Removal of Grease Spots from Engravings and
Books. — Grease spots, if old, may be removed by apply-
ing a solution of varying strength of caustic potash upon the
back of the leaf. The printing, which looks somewhat faded
after the removal of the spot, may be freshened up by the
application of a mixture of l part of muriatic acid and 25
parts of water. In the case of fresh grease spots, carbonate
ofpotassa (l part to 30 parts of water), chloroform, ether, or
benzine, renders good service. Wax disappears if, after
saturating with benzine or turpentine, it is covered with folded
blotting paper, and a hot flat-iron put upon it. Paraffin is
removed by boiling water or hot spirits. Ink spots or rust
yield to oxalic acid in combination with hot water ; chloride
of gold or silver spots, to a weak solution of corrosive sublimate
or cyanide of potassium. Sealing wax is dissolved by hot
spirits, and then rubbed off with ossa sepia. Indian ink is
slightly brushed over with oil, and after twelve hours saponified
with salmiac ; any particles of colour still remaining must be
removed with rubber. Bloodstains disappear after the appli-
cation for twenty minutes of chloride of lime; the yellowish
stain still remaining yields to a weak acid. Fresh spots of
paste are removed with a moist sponge, older ones with hot

MISCELLANEOUS. 297

water. Fusty stains of yellowish colour surrounded with a
darker line disappear if the paper is bathed in clean water to
which some chloride of lime has been added. If they are
found in bound books, linen damped in the same liquid is
placed on both sides of the discoloured leaves, whilst the latter
are separated from the other leaves by tinfoil. As soon as
the spots have disappeared, the linen and tinfoil are removed,
the leaves placed between blotting paper, and the book is
closed. If there are many fusty spots in the book, the binding
is taken off, and the whole volume placed for a night in chloric
water. The separated parts are then hung up to dry, and the
book freshly bound. If the spots are large, and dotted with
black points, tartaric acid is applied.

Flower Barometers. — To prepare paper flowers so
that the atmosphere will change them to different colours, in
such a manner that they can be used as a barometer, the
paper is saturated with a moderately concentrated aqueous
solution of cobalt-chloride ; press and dry. When properly
prepared, dry air develops a blue colour, and moist air a pink
tint. The flower barometer does not foretell the weather, but
simply indicates the hygroscopic condition, or the amount of
moisture contained in the surrounding air.

Hints to Draughtsmen. — In mixing up inks the pro-
cess is very much expedited by heating the dish and water in
which it is mixed before commencing. It often happens in
the summer that the flies walk over a tracing and eat oflT the
ink in a very provoking manner. The use of vinegar instead
of water will prevent this. In making a tracing the cloth
will take the ink much better if it is rubbed over with chalk.
Tracing cloth that has been rolled up may be straightened
out effectually and expeditiously by drawing it over the edge
of a table or drawing-board, holding it down meantime with
an ordinary three-cornered scale. When there are a large
number of drawings made and kept, a great deal of trouble
and confusion can be avoided by making all the drawings on
extra standard sizes. If a size of 16 x 24 in. be adopted,
then the next larger size would be equal to two of these, or

298 THE PRINTERS' HANDBOOK.

24 X 32 in. This enlarging or reducing process may be
carried as far as the circumstances require, but it is always
best to do it by the doubling or halving process if possible.
One of the advantages of standard sizes of drawings is that
they may be kept in a case of drawers, the size of which is
made to accommodate the standard sizes determined upon.

To Clean Gilt Frames. — Use a soft sponge moderately
moistened with spirits of wine ; allow to dry by evaporation.
Do not use a cloth, and avoid friction. Another way is to use
a very soft shaving brush, and to gently rub backward and
forward a lather of curd soap. Rinse with water at about
blood heat. This applied morning after morning to old and
dirt-covered oil paintings will greatly restore them. In
adopting this plan with regard to gilt frames around water-
colours or prints, be sure that not enough moisture is used to
run off the frame, or the paper will be stained. The cleaning
applies to gold frames only. Dutch metal will bear no clean-
ing, but a new material, not absolutely gold, but very like it,
will stand any amount of soap and water.

Wood Moulding for Picture Frames. — These are
cut in a machine, brushed over with plaster of Paris, and
smoothed down with a steel tool of the same form as
the moulding. The plaster has a little glue mixed with it
to make it adhere.

A New Copying Process. — A Hungarian chemist has
patented a process by which a paper impervious to water is
painted with the following solution : — Gelatine, 1 part ; glyce-
rine, S parts; Chinese gelatine, 0.2 parts; water, 1 part. The
manuscript is written with the following solution: — Water, 100
parts ; chrome alum, 10 parts; sulphuric acid, 5 parts; gum
arable, 10 parts. The manuscript is laid on the first paper,
and the latter is thereby rendered incapable of taking up an
aniline colour solution with which the surface is then flowed.
Excess of colour is absorbed with silk paper, and negative
impressions taken on clean paper.

MISCELLANEO US. 299

Removal of Gum "Water Stains. — The greasy-look-
ing stain or blot left by gum water when used on paper from
which the size has been removed, or which otherwise has be-
come more than usually permeable, may be removed by the
addition of sulphate of alumina to the mucilage. One formula
runs — 2 grammes of crystallized sulphate of alumina dis-
solved in 20 of water is added to 250 grammes of gum arabic
(2 to 5 strength). Another formula gives exactly twice as
much sulphate as above ; in another the gum mucilage is
directed to be made of greater strength, and the alumina salt
to be added in the proportion of one thirty-third part of the
weight of the gum employed.

Rusting of Screws. — Printers and their allies will be
glad to know how to prevent screws from becoming fixed from
rust. It is well known that iron screws are very liable to rust,
more especially when they are placed in damp situations.
When employed to join parts of machinery they often become
so tightly fixed that they can only be withdrawn with con-
siderable trouble — a fracture sometimes resulting. In order
to avoid this inconvenience screws are generally oiled before
being put in their places, but this is found to be insufficient.
A mixture of oil and graphite will effectually prevent screws
becoming fixed, and, moreover, protect them for years against
rust. The mixture facilitates tightening up, is an excellent
lubricant, and reduces the friction of the screw in its socket.

To Cleanse Old Engravings. — If brown spots and
rings of mildew have not made their appearance, float the
engraving, face downward, for twenty-four hours on a large
quantity of water in a vessel free from grease. Lift it from
the water on a clean sheet of glass, drain, transfer to blotting
paper, dry, rub with bread, and iron. If the stains are not
removed by this plan, place the engravings in a shallow dish
and pour water over them until they are completely soaked.
Carefully pour off the water, and replace it by a solution of
chloride of lime (one part of liquor calcis chloratae to thirty-
nine parts of water). As a rule, the stains disappear. If
not, pour on the spot pure liquor calcis chloratae. As soon

300 THE PRINTERS' HANDBOOK.

as the stain disappears, carefully wash the engraving with
clean water till all the chlorine is removed. Then steep it in
a weak solution of glue or gelatine. Dry between blotting
paper under a weight, and iron with a sheet of clean paper
between the iron and the print. Small grease spots may be
removed by putting powdered French chalk over them, a piece
of clean blotting paper over the chalk, and a hot iron over
that. If the stains are larger, benzine may be used, applying
it round the stain, before touching the stain itself.

Albertype. — In the Lichtdruck process (named after its
inventor) glass is substituted as the basis for the gelatine,
because it gives the opportunity of hardening the film from
the back by exposure to light. By a preliminary coating of
bichromatized albumen, also hardened by exposure from the
back, this is effected more completely. Lichtdruck prints are
of very great beauty, and hardly distinguishable at a little
distance from silver prints from the same negative.

Faded Goods in Shop Windows. — It is stated that
plush goods and all articles dyed with aniline colours, faded
from exposure to the light, will look as bright as ever after
being sponged with chloroform. The commercial chloroform
will answer the purpose very well and is less expensive than
the purified.

Phytochromotypy. — This is a process of producing
impressions of leaves and plants, and is effected as follows :
The plant is first dried and flattened by pressure between un-
sized paper, or it may be done rapidly with a hot iron. The
surface to be copied is then brushed with a solution of aniline
colour in alcohol and allowed to dry, which will take place
very rapidly. If the impression is to be taken on paper, im-
merse the latter in water for a few seconds, and remove the
excess by pressing between blotting paper. Place it then on
some non-absorbent surface, and apply the plant coloured side
down ; place over it a sheet of strong paper, and while it is
held securely in position stamp the whole surface with a wad
of cotton. A cold iron may be lightly passed over the paper

MISCELLANEOUS. 301

instead of using the cotton, and if a few sheets of tissue paper
are interposed between the paper and the plant, its outlines
and veins principally will be copied, while without it the
whole surface may be impressed on the paper. If the paper
which is to receive the impression is moistened with alcohol
instead of water, the impression will be brighter, and the paper
will retain its lustre or glaze better. If a very light coating
of glycerine be spread upon the coloured plant when perfectly
dry, and the excess removed by unglazed paper, one or more
prints may be immediately taken upon dry paper or other dry
surface. If the print shows blots when a strong colour is
used, pass over the surface with a pencil wet with a solution
of saltpetre, which will moderate the impression. Different
parts of the plant may be coloured differently to conform to
nature or individual taste. Defects may be touched up with
a pen dipped in the colour.

Indigo Printing on Cloth. — Having soaked the indigo
in caustic soda lye, it is ground, then mixed with water and
dextrine to a paste, and treated with dry caustic soda, taking
care that the temperature does not rise above 25° R. Cloth
mordanted with grape sugar is printed with this mixture,
dried and steamed for about five minutes in a continuous
steaming apparatus, whereby the indigo is reduced. In the
subsequent passage through water the indigo is oxidized for
30 minutes, and the cloth dried. For 2,000 g. indigo, 400
g. caustic soda, 500 g. dextrine, 6,8oo g. water, and 26 g.
mordant for cloth are required.

Ruling Tissue Paper. — This is a process for ruling
light papers (such as tissue paper) which cannot be properly
carried through and ruled upon the ordinary ruling machines
on account of its liability to crimp or gather under the pens,
thus causing irregular or imperfect lines. By the use of
this process it is intended also to so rule the paper that
the lines as they are drawn may strike through the sub-
stance of the paper so as to present both surfaces of the
finished sheet alike, and further, to rule the paper in a con-
tinuous sheet as it is delivered from the paper-making

302 THE PRINTERS' HANDBOOK.

machine hereinafter specified. The paper is drawn directly,
under tension, over a roller or mandril, and from thence over
a felt-covered roller, which revolves in a trough containing a
solution of saccharine matter and ox-gall, by which it is mois-
tened, so as to put it in proper condition to receive the ink.
From the roller it passes under a brush-roller, having its
periphery armed with bristles and travelling in a direction
opposite to the line of travel of the paper. The office of this
roller is to smooth out the wrinkles from the paper caused by
the moistening operation. The paper then passes to a drying-
roller, and, on its way there, to below the ruling-pens, which
are supported and supplied with ink in the same manner as
in an ordinary paper-ruling machine. The paper thus mois-
tened and prepared receives the ink-lines while in such con-
dition that the same may strike through its body. The dry-
ing-roller is suitably heated, preferably by means of steam,
so as to dry the ink as soon as deposited from the pens, and
thus prevent it from spreading and blurring the lines. From
the drying-roller the paper passes between calendering rolls,
one of which is suitably heated, so as to finally dry and surface
the paper. The paper is finally wound upon a drum, which
serves not only to roll and store it, but to draw it and keep
it at the proper tension under the pens, so as to receive the
lines properly, the travel of the web or blanket being so regu-
lated with respect to the rate of rotation of the drum that the
sheet will always be taut or " stretched " when passing under
the pens.

Printing Stained Glass. — Something very like stained
glass to the eye, and as pretty to look upon as the genuine
vitreous article of many colours, is now produced abundantly
by printing-presses. The imitation stained glass now so fre-
quently seen is the product of the old-fashioned hand print-
ing-presses. Blocks of wood are used to convey the impres-
sion desired ; these blocks are inked with oil colours specially
mixed for the purpose. Sheets of thin, porous, hand-made
paper are used, prolonged impressions being given, so that
the oil colours will thoroughly permeate the paper ; a separate
impression is made for each colour. The design desired hav-

MISCELLANEOUS. 303

ing been printed on as many sheets as are required to com-
plete the pattern, which may be as large as a cathedral win-
dow if required, the sheets are soaked in warm water for half
an hour, sponged off on being taken out, and coated on one
side with a thin cement. A similar coat of cement is applied
to the glass on which the printed paper is to be finally placed,
the paper is laid over this, and the back varnished over. The
glass thus becomes, to all appearances, stained glass. The
effects of lead lines of irregular curves and fragments of
coloured glass in mosaic are reproduced with as great bril-
liancy and as fine artistic effect as in genuine glass. Time
and changes of temperature exercise no ill effects on the
printed stained glass, which is frequently mistaken for the
real and far more costly and just as destructible article.

^A/^indo'w Transparencies. — The process of preparing
a transparent plate or panel for the reception of an illuminated
design or ornamental sign consists in first coating the plate
with a film of bichromatized gelatine, then subjecting it to the
action of light, under a transparent plate or negative having
the design or subject opaque and the ground transparent;
then removing the bichromate alone, by means of water, and
finally rolling up the gelatinized side of the plate with an
opaque fatty ink or colour, which is allowed to set or dry,
thus making the ground and shade-lines on the plate opaque,
while leaving the design or subject transparent ; and finally
after the ink or colour is set or dry, backing or covering the
plate or panel over the transparent or design portion with
metal foil, pigment, or illuminating colours to make an
ornamental plate, panel, or sign, or a transparency

Inside Coating for Paper Boxes. — A composition
for coating the insides of paper boxes consists of the following
ingredients : — Paraffin and bicarbonate of soda or alum, the
proportion of the soda or alum being sufficient to harden the
paraffin when applied to the box. These ingredients are to
be thoroughly mingled by heating. The alum is not abso-
lutely necessary, since the soda will harden the paraffin suffi-
ciently to withstand the action of most liquids, paints, etc.,

304 THE PRINTERS' HANDBOOK.

but where considerable heat is to be withstood alum is used.
There are several substances — such as glue and gum arabic
— which may be added to the composition to render the latter
more impervious to turpentine ; but this is not necessary, as
the paraffin and soda are unaffected by turpentine or any of
the usual solvents. Of course the soda combined with the
paraffin has additional advantages beyond the mere hardening
of the paraffin, since the oil and odour of the latter are entirely
neutralized, and the box is thereby rendered suitable to con-
tain liquids to be used as food.

^Vhite Marks on Blue Paper can be obtained by
using a solution made by simply dissolving soda in water
nearly to saturation, using it the same as ink, with either a
steel pen for writing or a drawing pen for lines. The lines
come out white instantly.

Imitation of Catgut. — Twine may be prepared so as
to possess the appearance of catgut by treating it as follows :
Soak the twine for one half hour in a solution of glue ; dry
and soak for an hour or two in a strong infusion of oak bark,
to which a little catechu has been added. Then dry the
twine and smooth with a rag saturated with oil. The oak
bark infusion may probably be replaced with advantage by a
solution of bichromate of potassium.

Cheap Jacketing for Steam Pipes. — A recipe is as
follows : — Wrap the pipe in asbestos paper, and lay a number
of strips of wood lengthwise, from six to twelve, according to
the size of the pipe, and bind them into position with the
wire ; around the framework thus constructed wrap roofing
paper, fastening it with paste or twine. If exposed to the
weather, use tar paper or paint the outside.

To Re-Ink a Type-"Writer Ribbon. — Some time
ago (says a correspondent of the "Scientific American ") I tried
the experiment of re-inking a ribbon with such success that
I never expect to buy one again. In two ounces or more of
any ordinary writing fluid put a spoonful of thick gum-arabic

MISCELLANEOUS. 305

mucilage and a teaspoonful of brown sugar, warm the mixture
and immerse the ribbon long enough to become well saturated.
When dry, spread the ribbon on a board and brush it well
with glycerine. Should there be too much "colour" in the
ribbon press it out, between papers, with a warm flat iron ;
or, if too dry, brush it again with glycerine. The secret of
the ribbon giving out its colour is in the glycerine, and if you
have body enough in the colour there is no danger that it
cannot be made to work well. Such a ribbon is not affected
by the dryness or humidity of the atmosphere, and I esteem
mine much better than any obtained from the trade. It may
be that I was fortunate in hitting upon just the right propor-
tion of the different constituents, and possibly a second trial
might not be so successful ; but I think, with a little care,
anyone could do as well with the same or similar means.
My object was to get body to the " colour," hence the muci-
lage and sugar. Then it was necessary that the ribbon should
retain a certain degree of moisture, for the gum and sugar
make it dry and harsh, so the glycerine coat was put on ;
but there was danger of smearing the paper with too much
moisture, or a wrinkled surface, and the ironing obviated
this.

To Clean Brass Rules. — When verdigris gathers on
the face of brass rule, and it won't print sharp, take a little
diluted oxalic acid and wash the face — never scrape it with a
knife.

Aluminium Silver. — This is made by melting together
one part of silver with three or four of aluminium. It is
valuable for articles in which one of the main objects is to
obtain lightness, such as the instruments used for marine
observations. Those parts of such instruments as octants
and sextants which, if made with other metal, would weigh
several pounds, will, when made of aluminium silver, only
weigh one pound. The alloy can be turned and filed easily,
which is not the case with the pure aluminium ; the latter is
too soft, and has the objectionable property of sticking to the
file.

;o6 THE PRINTERS' HANDBOOK.

Gloss Varnishing. — Some valuable information on this
subject was recently given. The question is of great im-
portance to the trade. If a gloss will not stay on paper, and
it is known that the varnish has given good results before, of
course it can only be the fault of the paper ; still there are
so many different kinds of gloss varnishes in the market, and
so many methods of varnishing, that we are sure the following
will be of interest to all our readers : — It is evident that all
lithographers who are not in the possession of a varnishing
machine would prefer to print a gloss upon the printed sheets.
Although as a general rule a printed gloss never can be as
good as a coated one, yet we shall speak of the best gloss
obtainable by printing and known only to a very few ; but
before giving this receipt we have to go a little deeper into
the matter in order to make it clear why some varnishes are
better than others, and why some papers lose the gloss after
varnishing and printing: (l) the varnish can only stay on a
printed sheet if the sheet does not absorb the varnish ; (2)
the paper absorbs the varnish when the sizing does not
contain glue enough. A regular writing or so-called sized
book paper is not always lit to print work on that has to
be varnished afterwards ; the paper may be tested before
printing with the varnish to be used, but the fibre of the
paper has nothing to do with it ; paper of any fibre, if sized
enough, will keep the gloss on its surface. It is the same
with enamelled papers. Only the coating of the paper is the
cause if the printed sheets keep the gloss or if the gloss
soaks into the paper. Every enamelled paper which lifts the
ink nicely in printing is the worst for varnishing. In short,
what is wanted is a paper into which the varnish does not
soak. Now of course if we have not the paper as desired, we
have to find a remedy, and this is very easily done. Take
for instance photographic views. Be sure to have the lightest
tint printed all over the picture, and print this tint with as
little thin varnish in it as possible ; add as much silicate basic
potassa, drop by drop, until the tint becomes of the con-
sistency of body colour, without using heavy white and
magnesia. This single tint will give to the paper a sizing,
and enable it to keep the gloss. Bear in mind that the more

MISCELLANEOUS. 307

colours are printed on the top of each other the better the
gloss will be, and that when these facts are observed any gloss
varnish in the market will remain on the paper. The best
gloss varnish for printing, however, is forty parts of varnish
No. 3, forty parts of damar varnish, fifteen parts of yellow
beeswax, and about five parts of silicate basic potassa. Melt
the wax first over a fire, then add the varnish (always
stirring), and when everything is well mixed, which can be
proved if, by putting a wooden stick into it, the varnish runs
evenly and of uniform thickness, let it become perfectly
cold, and do not add the water gloss until the varnish is to be
used in printing. The gloss varnish, instead of being done
by an extra printing, can also be mixed with any tint and
printed at the same time ; it will remain on the paper, and
will neither break nor crack.

To Paint with Oil and Water Colours upon
Fine Art Terra Cotta. — 1. Sketch the design in pencil on
cardboard or canvas. 2. Mix the oil colours with a body like
flake white, and use some oil megilp in place of much tur-
pentine. Lay this on fairly thick and let it dry for some time.
3. Then tint and finish with the colours, without the flake
white, but still using megilp. 4. When quite dry put on a
slight coat of spirit copal varnish. Pencil marks can be
rubbed out with india-rubber. Spots of paint or mistakes can
be removed by spirits of turpentine. For Water Colours :
1. Sketch the design in pencil and coat it with prepared
size; allow it to dry • perfectly. 2. Mix the colours with
Chinese white, and use some wax water megilp in place of
much water. 3. Then tint and finish with colours without
Chinese white, still using wax water megilp. 4. When dry
(if needed) put on a thin coat of spirit copal varnish. Black
terra cotta does not require size.

Colouring Transparencies and Photographic
Cards. — The first thing to be done is to prepare the paints.
Get a small quantity of different aniline colours or dyes, and
dissolve them separately in spirits of wine, gradually adding
the spirit until all is dissolved ; dilute by about its own bulk

3o8 THE PRINTERS' HANDBOOK.

of water, and add ox-gall until the colours flow smoothly
from a camel-hair brush over glazed paper ; when this has
been attained the colours are ready for use, and the painting
may be commenced. It is advisable for the beginner to
commence with a portion of the transparency which has the
smallest surface of the same colour, as it requires a little
practice to lay on an even coat on a large surface, such as
the sky or sea. If the colour is piled on by degrees with
dilute colour, it renders the laying on of a smoother coat
much easier. It is as well to give the transparency a coat of
varnish when the colouring is completed and quite dry. For
colouring cards the colour should be laid on very dilute
(especially the flesh colour), and in successive washes until
the desired depth has been attained. The colours most use-
ful are : lemon-yellow, green, orange, red, blue, and violet.
For flesh colour, lemon-yellow and red ; for different shades
of green, lemon-yellow and blue ; for lilac and purple, violet
and red ; for jewellery and fair hair, orange. The commonest
water-colour brushes will do.

Black on White in Photography. — The question
how photographic paper is made that will give black lines on
a white ground at one operation is answered as follows : — The
paper is first coated with a solution of perchloride of iron
and tartaric acid, dried and exposed in the usual way behind
the tracing. The light reduces the perchloride of iron to the
protochloride. The print is then immersed in a solution of
gallic acid, which turns the coating of perchloride of iron
not acted upon by the light black, but does not affect the
portions reduced by the light, hence, as the light cannot go
through the black lines of the tracing, the sensitized surface
under them blackens under the gallic acid. Lastly, the print
is washed and dried. Owing to the powerful action of the
gallic acid it is difficult to obtain clear whites.

Rust Stains on Nickel-Plating may be removed by
thoroughly greasing, and, after several days, rubbing with a
cloth moistened with water of ammonia. Any visible spots
may then be moistened with dilute hydrochloric acid and

MISCELLA NEO US. 309

immediately rubbed dry. Washing and the use of polish
powder complete the process.

To Silver Glass. — Triturate 8 parts of nitrate of silver
in a porcelain capsule with water of ammonia gradually
added, until the liquid, which has at first become muddy,
becomes clear, avoiding, however, an excess of ammonia.
To the solution add 2 parts of powdered sulphate of ammo-
nium, and then 700 parts of distilled water. Transfer the
liquid to a bottle of dark or non-actinic glass, in which it
may be kept for a long time. In another bottle dissolve 24
parts of pure grape sugar in 700 parts of distilled water, in
which 6 parts of pure caustic potassa had previously been
dissolved. When the solutions are to be used, mix equal
volumes of them, pour the mixture into the glass vessel to be
silvered, and move it about so that the whole of the surface
to be coated may be wetted by the liquor. In ten or twelve
minutes the coating will be completed. The process must be
repeated several times, until the coating attains the proper
thickness. Then the vessel is carefully rinsed with rain or
distilled water, and dried by exposure to air. Finally, the
coating is varnished, for which purpose a solution of equal
parts by weight of damar and ether is recommended.

Preparing Panels for Painting. — An excellent
method of preparing paper tissues, wooden tablets and the
like, for the purpose of painting, has been successfully
employed in Germany, the advantages being that in the use
of crayon or chalk the colours adhere better to the surface ;
in water-colour work the moisture is long retained, so that
the colour tones remain unchanged during the work, and in
oil painting the colours easily mix, greatly facilitating the
work of beginners. The process is thus described : — One or
two coats of size are first applied to remove porosity, then a
thin layer of a paste of white lead (200 gr.) and boiled oil
{50 gr.) is put on. After drying for half-an-hour, fine cotton
dust is sprinkled on the surface from a sieve, and by striking
the piece on the back the fine cotton fibres are caused to
rise, forming a velvet-like surface. The material is left to

310 THE PRINTERS' HANDBOOK.

dry for two or three days, and brushed with a woollen brush,
so as to depress the cotton somewhat ; then a mixture of
white lead (8 parts), gold lac (l part), spirits of turpentine
(l part), and starch (l part) is applied. This is equally dis-
tributed by passage between rollers with a caoutchouc
surface. The cotton particles are raised again with a fine
brush, and after two or three days drying the material is put
into a bath of equal parts of alcohol and water.

Reproducing Old Prints. — Moisten the print to be
reproduced with a solution of soda and soap until the ink
has been sufficiently softened. Place the sheet on a smooth
slab of ivory, cover it with a sheet of white paper pre-
viously saturated in soapy water, and rub it with a muller
until an impression of the print has been struck off. Between
five and six copies may be taken in this manner, which will
be sufficient in most cases. Another method consists in ap-
plying a thin layer of paste, with which the original is
covered, after which an ordinary roller is passed over it back-
ward and forward. The ink adheres only to the black
portions. The layer of paste is then carefully removed with
a sponge, the original sheet is placed on a lithographic stone,
the whole submitted several times to pressure, and the sheet
finally wetted, when it may be taken off. The same way is
then adopted as in printing from a lithographic stone. In a
third method acids and gum are applied. The sheet is
wetted with diluted acid to remove the sizing, enable the liquid
to enter the pulp of the paper, and prevent the paper from ab-
sorbing the colour. A roller is then passed over the sheet, as in
the second method. To prevent the new colour from com-
bining with the acid, a thin layer of gum arable is applied to
the original. The latter may then be transferred to a stone.

To Copy Printed Matter. — To do this on any ab-
sorbent paper, damp the surface with a weak solution of
acetate of iron, and press in an ordinary copying press. Old
writing may also be copied on unsized paper, by wetting
with a weak solution of sulphate of iron mixed with a small
solution of sugar syrup.

MISCELLANEO US. 3 1 1

To Restore Faded Photographs. — It has been dis-
covered that faded photographs can be restored to their
original colour by immersion in a dilute solution of bichloride
of mercury till the yellowness disappears. If the photo is
mounted the operation can be performed by placing it in close
contact for a sufficient time with blotting paper well saturated
with the bichloride. The process does not restore lost detail,
but simply removes the sickly yellow colour and makes the
pictures bright and clear, possessing after the operation a
much warmer tone than they did originally.

An Easy Way to Emboss. — Here is a field for in-
genuity which will afford room for development. Very fine
results can be obtained at little expense, and it will be a
novelty, as very few printers have done such work. Take a
piece of six-ply card with smooth, white surface, just the size
of the card you wish to emboss, and sketch the shape you
desire with a pencil, cutting out the design in one piece with
a sharp knife ; then trim the edge of the inside piece, so that
it will play freely through the outside piece. Paste the out-
side or female die firmly on the back of a wood letter large
enough to hold it, and the inside or male die very lightly to
the same letter ; then lock up the letter and put it on the
press, remove your rollers, make a good hard tympan, and
after thoroughly pasting the surface of the inside die, take an
impression and hold the platten on the impression until the
paste has time to dry. On opening the press the under die
leaves the wood letter on which it was lightly held and adheres
to the tympan, leaving the outside die attached to the letter
on the bed of the press. Then set the gauges, feed in the
cards in the usual way, and proceed to emboss.

Horse- Power. — Eight man-power is equivalent to one
horse-power, and this last is arrived at by the power or force
which a horse generally exerts. It is compounded of his
weight and muscular strength, and decreases with his speed.
It is generally reckoned, in mechanical calculations, equal to
33,000 lbs. raised one foot high per minute ; and if continued
throughout the day of 8 hours, amounts to 150 lbs. conveyed
a distance of 20 miles, at a speed of 2\ miles per hour.

312 THE PRINTERS' HANDBOOK.

Demands of Public Libraries. — By Act of Parliament

five copies of each work, and of each subsequent edition, must
be despatched to the libraries of the British Museum, London ;
Bodleian, Oxford; University College, Cambridge; Trinity
College, Dublin ; and Advocates', Edinburgh. They are
generally all sent through one official agent in London, who
gives a receipt for them. If by chance these copies for
the libraries are delayed or overlooked, a demand is soon made
for them, and must be complied with. Privately subscribed
books of a limited number, not sold in the ordinary way, or
advertised, are exempt from these demands.

A New Style of Window Decoration. — It must
have occurred to many that very beautiful window decoration
might be produced, if we could transfer chromo-lithographs
to glass. The difficulty lies in the fact that many of these
are printed at the back with ordinary letter-press. Further,
the paper transferred, that covers the colour, must be ren-
dered nearly transparent. This is the way in which such a
thing might be done : — Coat the paper thinly with a clear
mucilage of gum arable, spread it out evenly on the glass
plate, and let it dry. The paper may then be pared down
with the greatest facility by means of a glove-maker's knife, a
piece of thin flexible steel, three inches wide by five inches in
length. At one end a handle is usually affixed, the other end
being ground to a very fine edge. It is used somewhat after
the manner of a plane, the plate being pressed down nearly
level with the paper, and the edge of the blade presented
somewhat obliquely to the stroke so as to cut smoothly. To
make the paper translucent saturate it with castor oil, and
cover the back with a second glass plate.

To Prevent Scaling of Boilers. — The latest specific
is the gum of the eucalyptus globulus, which, it is said, has
the effiict of thoroughly removing the scales which form on
boilers and preventing rust and pitting. The effect of this
preparation will, it is expected, extend the period of the use-
fulness of boilers lOO or 150 per cent., and at the same time

MISCELLANEOUS. 313

insure a very considerable saving in fuel, as scale is a non-
conductor of" heat. The process of manufacture is patented,
but we are not aware if the gum is yet in the market.

To Soften Sealing-Wax Blots. — These may be
softened by means of alcohol and then scraped away with ossa
sepia. Sealing wax of all colours easily dissolves in strong
alcohol, and forms a most excellent varnish for small orna-
ments.

To Distinguish Iron from Steel. — A German paper
gives the following test to distinguish steel from iron : — Pour
on the object to be tested a drop of nitric acid of 1.2 sp. gr.,
let it act for one minute, then rinse with water. On iron the
acid will cause a whitish-grey, on steel a black stain.

To Fasten Transparencies to Glass. — Transparent
showbills, if the paper is properly prepared, should be easily
fastened to glass slightly moistened, but if any difficulty is
experienced very fine white glue, or preferably clean parch-
ment clippings, boiled in distilled water in glass or enamel
until dissolved, must be applied very evenly with a soft hair
brush to the face of the bill ; then press it on the glass and in
a few minutes the bill will be firmly fixed. Glass may be
fixed to glass in this way and the cement will bear a good
deal of dry heat.

To Write on Cotton Sheeting. — Cotton sheeting on
canvas or linen may be written upon without the ink spread-
ing by applying to the fabric a preparation (gum arabic and
water) and allowing it to dry, then pressing the place with a
moderately hot iron. If the fabric is glazed or starchy it is
best to wash out the starch before applying the preparation.

New Ink Eraser. — The newest thing in this line is
blotting paper saturated with a solution of oxalic acid and
dried. It not only absorbs the ink of a blot, but will remove

314 THE PRINTERS' HANDBOOK.

the blot itself if the ink does not contain indigo or aniline
colour. It might be dangerous in removing signatures from
important papers, but the trace of the writing will remain, and
can be made legible by adding ferro-cyanide of potassium or
gallic acid.

A Fine Lustrous Polish for Fine Cabinet
^i^ork. — Half a pint of linseed oil, half a pint of old ale, the
white of an egg, and one ounce spirits of salt (muriatic acid).
Shake well before using. A little to be applied to the face of
a soft linen pad, and lightly rubbed for a minute or two over
the article to be restored, which should first be rubbed off
with an old handkerchief. It will keep any length of time.

Jute in Linen. — The presence of this may be ascer-
tained by washing and treating with dilute chlorine, when the
jute will become of a reddish colour and the linen white.
Cotton in linen can be destroyed with sulphuric acid, leaving
the linen uninjured.

How Gelatining is Done. — First, it is requisite that
the work should be done in a room free from dust. The
principal arrangement required for gelatine varnishing com-
prises several plates of heavy glass fixed in wooden frames and
marked each with a distinctive number. Shelves should be
built up against the wall, covered with a layer of pasteboard,
and perfectly level, so that the glass plates may rest in a level
position. This is all-important. The gelatine is broken into
fragments, tied up in a clean sheet of linen, and placed in cold
water until sufficiently soaked. After this it is placed in a pot
of water over an alcohol lamp, the boiling water dissolving the
gelatine and all impurities being kept back in the cloth. The
result is a readily flowing solution, to which an equal volume
of alcohol is to be added, as without such an addition the mass
would soon harden and set unevenly. The more convenient
proportions are two parts of gelatine and five parts of water,
to which add three parts of alcohol. The vessel should be
kept covered to prevent the alcohol from volatilizing. A tin

MISCELLANEOUS. 3 1 5

vessel, with graduated scale, should be used so as to get
uniform quantities of the fluid. Before being covered with the
gelatine the glass plate should be oiled slightly to prevent the
mass from adhering. From the cup with the graduated scale
the gelatine is poured in a lukewarm condition, about the
consistency of molasses, upon the glass plate. The glass
plate is moved to and fro until it is covered in all its parts,
after which it is returned to its place upon the shelf In
about fifteen minutes the picture to be covered should be
moistened uniformly upon the reverse, and then placed upon
the gelatine mass, which by this time is somewhat solid. Here
the picture is allowed to remain for two or three days, when
with a dull knife the mass may be ripped round the margin
and the picture pulled off with its gloss coating. A varnish-
ing with collodion has the effect of making the gelatine coat-
ing waterproof and more flexible without detracting from the
transparency. Frames and glass plates should be carefully
cleaned of all particles of gelatine before being used again.

" Autotype " Plates. — The method used is as follows :
A plate, preferably of glass, is carefully coated with a solution
of gelatine containing bichromate of potash. It is then dried,
and an ordinary photographic negative is placed in contact
with it and exposed to the action of the light, which hardens
all the parts corresponding with the transparent parts of the
negative or the dark parts of the picture. After the proper
exposure the plate is washed in cold water to remove all the
sensitizing material, and it is then dried. The gelatine sur-
face will be found to have changed, so that it will act precisely
like a lithographic stone ; when moistened the parts that were
protected from light by the opaque parts of the negative
absorb water, while the other parts remain dry. A roller
charged with fatty ink is rolled over the plate, the ink adhering
to the dry parts and being rejected by the parts that have
absorbed water. Paper is now placed on the inked surface
and subjected to pressure, when the design will be transferred
to the paper. Then the moistening, inking, and pressure are
repeated until the required number of copies has been pro-
duced.

31 6 THE PRINTERS' HANDBOOK.

Celluloid, also called parkesine, xylonite, and cellulose, is
a preparation of cellulose either from wood, cotton waste,
paper, or other similar substance. Woody fibre is prepared
for this purpose also in a similar manner to the one used for
producing paper pulp. The prepared fibre is steeped in a
mixture of nitric acid and rectified sulphuric acid, 1 of the
former acid, of I.42 specific gravity, to 4 of the latter acid.
It will be seen from this that it is similar to gun-cotton.
After it has been properly treated with this mixture, it is
drained and pressed by hydraulic pressure to remove ex-
cess of acid. The original inventor has patented some im-
provements in its manufacture. He treats the woody or
other fibre, either pulped or not, with a solution of nitrate
of zinc, chloride of zinc, or other similar compound. He
says the nitrate of zinc quickly dissolves the fibre. At a
proper temperature more fibre is added to the solution
until a proper consistency is obtained. The operation is
performed by properly constructed machinery, and the excess
of zinc nitrate is removed by washing in water, alcohol, or
other suitable vehicle. He torms the articles which are to
be made from it whilst it is in the soluble state and the sol-
vent is in it, removing the solvent by subsequent washing.
Celluloid has been used for making blocks for printing from,
and slips of it pasted on wooden mounts make excellent sur-
faces for printing ground tints from. To render it non-com-
bustible, phosphates of lime, zinc, or alumina, oxalates of
lime, magnesia, or zinc, baryta, soda, strontia, etc., are added
in quantities amounting to from 10 per cent, to 150 per cent.
When coloured with dyes or pigments, it is used for making
small-tooth combs, billiard balls, knife handles, and a thousand
and one other purposes. But one of the most novel is the
use of it in making fronts, cuffs, and collars — when they
become dirty all that is required being a little soap and water
with which they are wiped with a sponge.

To Write on Terra Cotta. — You can write on terra
cotta as easily as upon paper by dipping the clay tablet in
milk with a few drops of acid added, and then allowing it
to dry.

MISCELLANEOUS. 317

Chamois Leather. — It is a common error that these
skins are derived from the " Chamois goat." The skins really
are made from the flesh side of sheep-skins, soaked in Hme
water, and in a solution of sulphuric acid. Crude fish oil is
poured over them, and they are afterwards carefully washed
in a solution of potash. To restore their flexibility, plenty of
washing in strong suds made of olive oil and potash with a
little water, and afterwards laying between brown paper wet
with glycerine, is a good plan.

Gilt Sunk and Raised Letters in Stone or Marble.
— These letters require much more care and preparation than
for printing. First a coating of size is laid on and then
several successive coats thickened with finely powdered whit-
ing until a good face is obtained. Each coat, as it becomes
dry, must be rubbed down with fine glass paper before apply-
ing the next. Then go over it evenly and carefully with gold
size and apply the gold leaf, burnishing with an agate ;
several coats of leaf — all burnished — will be required to give
a good effect. A gold colour stain, consisting of equal parts
of zinc sulphate, ammonium chloride, and copper acetate
(verdigris), all in fine powder, is sometimes used for the same
purpose, and carefully applied has a good appearance, though
of course not equal to the gold.

To Remove Grease from Paint. — This may be re-
moved from paint on machinery with benzine or naphtha, but
it must be used quickly and carefully to avoid bringing off" the
paint as well.

An Klectric Spark in a dusky atmosphere causes dust
to settle, and if the air be smoky, clears it. This is probably
one reason why the air seems so clear after a thunderstorm,
even if little rain has fallen.

Spots on Engravings, etc. — A few drops of ammonia
in a cupful of warm rain water, carefully applied with a
sponge, will remove these.

31 8 THE PRINTERS' HANDBOOK.

To Mount Chromos for Framing. — First soak for
fifteen minutes in a shallow dish, or lay between two news-
papers that have been thoroughly saturated with water ; then
paste to the panel of the wood or canvas which has been
prepared to receive them ; care must be taken that there are
no lumps in the paste.

Imitation Ivory. — Make isinglass and brandy into a
paste with powdered eggshell, very finely ground. Give
it any desired colour. Oil the moulds into which the paste
must be poured, which must then be slightly warmed.
Leave it in the mould until dry, when its appearance re-
sembles ivory.

Painting Zinc. — A difficulty is often experienced in
causing oil colours to adhere to sheet zinc. The employment
of a mordant, so to speak, of the following composition is
recommended : — One quart of chloride of copper, one of nitrate
of copper, and one of sal ammoniac, are to be dissolved in
64 parts of water, to which solution is to be added one part
of commercial hydrochloric acid. The sheets of zinc are to be
brushed over with this liquid, which gives them a deep black
colour. In the course of from twelve to twenty-four hours they
become dry, and to their now dirty grey surface a coat of any
oil colour will firmly adhere. Some sheets of zinc prepared in
this way, and afterwards painted, have been found to entirely
withstand all the atmospheric changes of winter and summer.

Electric Printing. — The outlines of the invention for
electric printing are as follows : — The cotton, linen, or paper is
first saturated with a solution of aniline black in water. The
wet paper or fabric is then placed on a disc of metal, under
which is a non-conductor, such as glass or caoutchouc.
Another disc, on which is the drawing, is placed on top of the
paper. The current is then connected with the two metal
discs, and with a little pressure a photograph in black is pro-
duced. There are other modes of working, such as writing
with iron or steel pencils, which will act as electrodes. The
solution of aniline shows up the lines better, and does not
blot if tragacanth, gelatine, or starch be added.

MISCELLANEO US. 319

Copyright. — The term of copyright in any book published
in the lifetime of the author ^haW endure for the natural life of
such author, and for the further term of seven years, com-
mencing at the time of his death ; provided that, if the said
term of seven years shall expire before the end of forty-two
years from the first publication of the book, the copyright
shall endure for forty- two years. The copyright in any book
published after the death of its author shall endure for the
term of forty-two years from the first publication thereof,
and shall be the property of the proprietor of the author's
manuscript from which it shall be first published.

Chromograph Bed for Copying Purposes. — Take
white gelatine, 1 lb.; glycerine, 1 lb.; glucose, 1 lb.; strongwhite
glue, 1 ib.; water, 5 lb. The glue should be placed in water for
a short time, and then laid out to soak a little and allow the sur-
plus water to run off. When this has been done, melt all in a
vessel partly submerged in another vessel containing boiling
water, care being taken that the ingredients do not get burned
while cooking. As soon as all are thoroughly melted, pour
gently through a fine sieve or a piece of coarse linen into a
shallow tray the size desired. When properly cooled and
allowed to season a day or so, it is ready for use. To make a
writing copying-fluid for the " chromograph " process, take
two parts of aniline violet to 30 parts of alcohol. Add water
to same as may be needed.

Protection of Eyes in Proof Reading. — A piece of
fine green glass laid on the proof is a relief to the eyesight.

How to Trace Photographs. — Lay over the photo-
graph a sheet of gelatine, which may be obtained at an
artists' colourman. With a sharp steel point scratch the
outlines required, which will show light on a dark ground.
Remove the gelatine and finely scrape some red chalk over
it. Rub the chalk powder into the scratches, and dust off'
the superfluous powder with a brush. This tracing may
then be laid down upon the stone and pulled through the
press, when a good red chalk tracing may be obtained. It

320 THE PRINTERS' HANDBOOK.

may also be laid upon the stone and rubbed down with the
end of a pencil cut flat or other convenient tool being passed
over it with some pressure. If wanted non-reversed upon
paper, it is first passed through the press upon paper, to get
a reverse, which in turn may be used to obtain the non-
reversed one, for painting upon or other like use. If gelatine
cannot be obtained, the photograph can be freed from grease
by cleaning with india-rubber. The outlines may then be
drawn with an ink composed of Indian ink, to which is added
a small quantity of ox-gall, sugar, and gum. A piece of damp
paper is then laid upon it, and the whole passed through
the press. As the result is a reverse, tracing paper need not
be used, because it is in the proper position for tracing to
stone. Should a non-reversed tracing be required, use tracing
paper for obtaining the set-off. A photograph thus treated
will scarcely be soiled if the remainder of the Indian ink be
washed off.

Hints for Mounting Photographs. — Binders are
often called upon to insert photographs in books as illustra-
tions. It has been said that a photograph cannot be mounted
so that it shall lie flat ; this " cockling " has hitherto been a
constant worry to the binder. The following are a few hints
that may assist : — Silver-print photographs should never be
placed on white mounts, because the high lights of the print
are never pure white, and a bright white margin round the
print spoils its beauty by killing its delicate half-tones. Lay
the print on paper of various tones, and select the tint that
harmonizes with it best. If starch is used, make it fresh
every day, and in this way : take a teaspoonful of best starch
in a large cup, add just enough cold water to break it up, but
do not put in more than is quite necessary ; pour boiling water
on it, stirring the while, until it is quite transparent ; when
cold it may be used. Or if paste is used, take a teaspoonful
of corn-flour, beat this well up in a teacupful of water till it is
quite smooth and there are no lumps ; place this in a porridge
saucepan (that is, a double one), and let it boil, stirring it
continually; it will turn to a thin and transparent paste that
will be easy to work with and very adhesive. Gelatine dissolved

MISCELLANEOUS. 321

in water — say a half-ounce to a teacupful — is also very good.
It must be of the best quality and ought to be used hot.
For mounting, three methods are given : First, after trim-
ming the print all round, moisten it slightly (the object being
to have it limp, without stretching it), by placing it between
sheets of damp paper over night, and it will be about right
next morning. Also slightly damp the mount, paste your
print very carefully all over (using no more paste than is
just necessary), lay it carefully on the mount, cover it with a
piece of clean paper and rub it down well, and then place it
in the standing-press between pieces of blotting paper, and
allow it to dry under pressure. It may be perhaps necessary
to take it out of the press and change the blotting paper. If
all this be done properly, the photograph and its mount will
he quite flat. Secondly, another way is to paste the back of
the print all over and allow it to dry ; damp the mount, lay
the print on the damp mount and pass them through the
rolling machine, or place them in the standing-press. Thirdly,
take a piece of lithographic stone or a thick piece of glass ;
glue this all over with the gelatine, place the print quickly
down on the glued stone or glass, rubbing it smartly all over,
then pick it up and lay it down on the mount. All this must
be rapidly done, and, if properly so, a photograph can be
easily mounted, even on thin paper.

■ Artificial Slate. — A composition for the production of
artificial slate consists of the following ingredients :— Powdered
animal-bone, about fifteen parts ; white lead, about one part ;
and linseed oil. These ingredients are prepared, mixed, and
applied in the following manner: — Animal-bones, preferably
bones from sheep, are burned in an open chamber or vessel
to allow the free admission of air, to render them as white as
possible. They are then ground very fine, and screened
through a sieve. Of this fine powder, fifteen parts are mixed
with about one part of white lead, with sufficient linseed oil to
make it of the consistency of paint to be applied with a brush.
The material — such as paper, pasteboard, linen, or any other
material suitable to form the body of the artificial slate — is
then painted on one or both sides with this composition

322 THE PRINTERS' HANDBOOK.

several times until the desired thickness is obtained on the
material, allowing each coating to dry before the next is ap-
plied. After the desired thickness of composition has been
applied to the material, it is placed for several days in a dry,
warm room, without the application of artificial heat. When
thoroughly dry it is polished by means of pumice-stone
dipped in linseed oil to a smoothness capable of being written
upon by a lead pencil, and can thus be used similar to a slate,
the pencil marks being at any time easily removed by the
application of a little moisture. By using more or less white
lead, the colour of this artificial slate may be varied, and any
desired colouring matter may be added.

To Remove Rust from Polished Surfaces. — To
remove rust and not scratch the finest polished surface, take
of cyanide of potassium 15 grammes; soap, 15 grammes;
chalk blanc de Meudon, 30 grammes ; water sufficient to
make a thick paste. As the removal of rust means removal
of material surrounding rust pittings, however fine, a paste
for the purpose must be a grinding material.

Mourning Paper. — A French machine puts the black
edge on mourning paper before it is cut up into sheets. A
brush applies the colour between parallel steel bands which
are as far apart as the margin is to be wide, and these are
adjustable. The bands are cleansed automatically to get off
all the colour that is deposited on them by the brush.

On Paper Ruling. — There are several machines before
the trade which enable any printer to rule a small quantity of
paper without the delay and trouble of sending it to a regular
paper ruler. In using these machines much difficulty is e.\pe-
rienced sometimes in operating on some kinds of paper, not
through any defect in the apparatus, but owing to a want of
knowledge of the art itself. For instance, certain sorts of
sized paper do not take the blue ink properly, that is to say,
in ruling technicality it not does "strike." The lines are
composed, in fact, of a series of bead-like dots, instead of being
solid and unbroken. The amateur ruler should know that

MISCELLANEO US. 323

paper requires a certain quantity of gall mixed with the ink.
Ox gall should be procured if possible. Supposing you have
prepared your ink to the proper tint required, mix well with
each quart one tablespoonful of gall. Increase the quantity
of gall as you find the paper hard or greasy ; bearing in mind
that the flannel over the pens must be kept perfectly clean by
being washed every other day in a little warm water with soap.
If the acid in the blue ink has not been properly destroyed all
the gall you may use will not prevent the bead-like lines.
Particular care must be taken, likewise, that all the pens have
the same bearing ; if not, the one that presses too heavily will
give a thick line, whereas the one that hardly touches the
paper will show a dotted broken one. Assuming that each pen
is of the same length, begin by regulating the bearing of them
by means of the regulator attached to the carriage of
the machine. This carriage is the part that grips the slide
wherein the pens are placed. Let the nibs of the pens be of the
same angle, which must be secured by drawing them over the
sand paper several times. Do not work your pens too much
on the slant, but tolerably upright. The parts that carry the
carriage will regulate this. Paste blue is sold by the ink
makers, and is used thus : — Dip a brush into the paste and rub
three or four times round the basin. If the ink has been
standing all night, it will then be necessary to turn it back-
wards and forwards in two basins.

How to Print "White Enamel Dials with Names
and Numbers. — A good many processes have been pro-
posed, and some of them patented, for effecting this. One of
the most successful is the following: — The design or inscription
is engraved on a copper plate and coated with a preparation
containing the coloured enamel to be used. A sheet of pre-
pared paper is then placed on the copper plate and the
whole subjected to the action of a press of which the surfaces
are heated. The paper on which the design is now printed is
stripped from the copper plate and made to adhere to the
article to be ornamented. Soaking the paper in water allows
it to be taken off", the design remaining, which is baked so as
to fix the fusible pigment on the coat of enamel.

324 THE PRINTERS' HANDBOOK.

A Hint for Gas-Burners. — A single plate of perforated
zinc, about a foot square, suspended over a gas-jet, is said to
retain the noxious emanations from burning gas, which, it is
well known, destroys the bindings of books, tarnishes gilding,
and vitiates the atmosphere for breathing.

Gilt Lettering on Glass. — Embossed ornamentation or
lettering on glass, as done by hydrofluoric acid, can be closely
imitated by painting in the design with rather thick dammar
varnish, water-glass, Canada balsam, thinned with turpentine
if required, or a solution of gum arable. Whitish and ground
glass effects may be obtained by finely grinding a little sugar
of lead or sulphate of baryta in the vehicle used. Colours
may be used if desired. Any gilding is done so as to cover the
design.

New Gum Bottle. — The latest thing is a glass ball with
a hole in the middle through which the handle of the brush
passes and moves freely up and down. The glass ball projects
from the top and rests in the upper part of the neck of the
bottle and by its use dust is effectually excluded. In using
the brush the glass ball remains a fixture on the handle.

Scenting Paper. — Complaints are frequent that in
scenting programmes, etc., professional perfumers are much
too fond of using patchouli and other sickly abominations.
Nothing beats the simple good old-fashioned rose perfume, and
nothing is simpler to make : of rose-leaves take one pound, of
sandal wood half-a-pound, and of rose oil a quarter of an
ounce. Mix well together. The old-fashioned lavender mix-
ture for scenting paper is made as follows: lavender flowers,
one pound ; gum benzoin, a quarter of a pound ; lavender oil,
quarter of an ounce. This is a cheaper scent than rose and
by some people liked better.

To Keep Unmounted Photos Flat. — A Belgian
formula to prevent the curling up of unmounted photographic
prints prescribes as follows : — After the final washing, plunge
the prints in a solution made of water, one part, alcohol, four
parts, and glycerine, three parts.

MISCELLANEOUS. 325

Printing Subscribers' Names. — A Frenchman has
suggested an alteration in the ordinary method of printing the
addresses of subscribers to newspapers and other periodicals.
Instead of printing them in batches of about 20 on single
sheets, which require checking for each issue, he prints them
on a strip of paper like a ribbon, and they are afterwards
perforated between the addresses. This ribbon is rolled up
on a bobbin and the whole of the labels occupy but a small
space, while none can be accidentally lost. Each is after-
wards torn off and pasted on the wrappers. The plan seems
to be something like that adopted by some of the omnibus
companies for giving out tickets.

Colours of Government " Blue Books."
The English official colour is Blue.

French
German
Austrian
Italian

Yellow.
White.
Red.
Green.

French Bronzing. — The wonderfully well-coloured
articles of bronze now seen in the market, showing all tints
and adhering thoroughly to the metal, are made by a French
process which is no longer a secret. The method of manu-
facture lies in the use of solutions of sulphides of antimony and
arsenic, which are applied to the bronze or brass articles.
After thoroughly washing them with water, they are thoroughly
dried, and then the sulphide solution is applied with a brush.
The best way is to begin with a dilute solution of ammonia,
giving one application. After drying the coating is brushed,
and then the dilute solution of sulphide of arsenic in ammonia
is used, which produces a yellow colour. The oftener this
sulphide of arsenic is applied the browner will be the colour,
and a deep tint may thus be finally obtained. By solutions
of sulphide of antimony, either in ammonia or in sulphide of
ammonia, the tint is reddish, and it is possible in this way to
obtain either the most delicate red or the deepest dark red.
If some of the parts of the article are rubbed more strongly a
high metallic lustre is obtained.

326 THE PRINTERS' HANDBOOK.

Purple Metal. — The pretty purple-tinted metal which
has lately come on to the market in the form of ornamental
nicknacks, is an alloy made by melting in a clean crucible
equal parts of copper and antimony.

Type-"Writer Press Copies. — Better press copies of
type-writer work can be obtained than of pen work, and just
as rapidly. The following instructions will insure success :
First place an oil sheet in the letter-book ; on this lay smoothly
a damp cloth, then the tissue leaf of the book, and on the last
place the letter to be copied. If the letter be written on one
side only, lay another oil sheet on the back of the letter, and
proceed as before. If the letter is written on both sides lay it
on the book as directed above, and on the back of the letter
turn down the next page of the copybook ; upon that spread
a damp cloth, and upon the cloth lay another oil sheet. It
should be firmly pressed a minute or two. How damp to make
the cloth and how long to permit the book to remain in the
press, experience will demonstrate. In taking out the letters
lay dry blotters between the pages of the book, and also
between the letters just copied. As many letters can be copied
at one time as desired.

Rusting of Bright Steel Goods. — This is due to the
precipitation of moisture from the air. It may be obviated by
keeping the surrounding air dry. A saucer of powdered
quicklime placed in an ordinary showcase will usually suffice
to prevent rusting of cutlery exhibited therein.

Transparent Coating for Prints. — It may be worth
noting that a transparent coating, combined with a permanent
glossy appearance, may be imparted to prints by mounting
them on wet cardboard and applying a decoction composed of
three ounces of white glue, eight ounces of soft water, half the
white of an egg, ten drops of glycerine, and three grains of
French chalk heated until thoroughly dissolved. It is not
implied that a valuable print is improved by this or any other
similar process, but the receipt may be useful in many cases
where pecuniary value is not a very important factor.

MISCELLANEOUS. 327

Boiler Incrustation. — One of the most serious annoy-
ances which printers, who use steam extensively, have to
encounter, is the incrustation which always goes on within the
boiler, at a rate depending mainly upon the amount of lime
with which the water is impregnated. In some districts, as
most people are aware, this is so great that natural springs
and wells will speedily convert sticks, or leaves, or any other
objects that may drop into them, into what are popularly called
petrefactions, the objects, whatever they may be, being appa-
rently converted into stone. This petrefaction of the inside of
a boiler not only seriously reduces the working power of an
engine, but is a prolific source of explosions, and is at all times
a source of anxiety and expense.

Keeping the Hands Soft. — Many printers — composi-
tors especially — whose hands have become rough and tough
will be glad of hints how they can keep them in good condition.
A little ammonia or borax in the water used to wash the hands
with, and that water just lukewarm, will keep the skin clean
and soft. A little oatmeal mixed with the water will whiten
the hands. Many people use glycerine on their hands when
they go to bed, wearing gloves to keep the bedding clean ; but
glycerine makes some skins harsh and red. These people
should rub their hands with dry oatmeal and wear gloves in
bed. The best preparation for the hands at night is white of
egg, with a grain of alum dissolved in it. The roughest and
hardest hands can be made soft and white in a month's time
by doctoring them a little at bedtime ; all the tools you need
are a nailbrush, a bottle of ammonia, a box of powdered borax,
and a little fine white sand to rub the stains off, or a cut of
lemon, which will do even better, for the acid of the lemon will
clean anything. There is no reason why a man should have
hard and rough hands if with a little care he can have them
soft and smooth. The hands are likely to be more dexterous
if the skin is always pliable.

Plus and Equal Marks. — The signs + and - , it is
said, were first used by Christopher Rudolf about 1 524- The
sign = was first employed by Robert Recorde in 1557)
because, said he, " noe 2 thynges can be more equalle."

328 THE PRINTERS' HANDBOOK.

Painting Monograms. — To begin the painting of a
monogram on paper, the first requirement is to know what
colour the gears are to be striped, as the colours used in
striping almost invariably govern the colour or colours used
in the ornament, except when coats of arms — the colours of
which are arbitrary — accompany the monogram, in which case
the monogram is to be painted in its colours. When painting in
relief — that is, in one colour, with its tints and shades, it is a
good plan to first lay the whole design in with a medium shade
of the colour, which gives an opportunity to lay in the shades
with the dark shades of that colour, and then the lights with
tints of the same colour, made by the addition of white. Many
first lay in the whole design in gold or silver, and then glaze
one letter with carmine, another with blue, another with
verdigris, and so on. Where there are three letters two may
be coloured, say Indian red glazed with carmine, and the pro-
minent letter with vermilion, " cut up " with dark red, and
high-lighted with vermilion and white.

"Perennial" Ink-Eraser. — A patented fluid for re-
moving ink from paper or parchment — in order to rectify a
mistake or clean off a blot without any injury to printers' ink,
or ruling upon any mill-ruled paper, and leaving the paper or
parchment as clean and good to write upon as it was before
the mistake or blot was made — consists of one ounce of solution
of chloride of lime combined with two drops of acetic acid. The
end of the penholder is dipped into the fluid, and applied to
the writing without rubbing. When the ink has disappeared
the fluid is taken up with a blotter. To remove stains from
laces, etc., the stained part is dipped into the fluid and then
rinsed in clean water.

What Constitutes Cost ? — To the items of paper, com-
position, proof-reading, presswork, etc., add for rent and
expenses, and interest upon investment in type, presses, etc.,
upon each job you do, 20"/o- This will give you about the
dead cost. Now, if you want a profit, add one-third to the
total, and in some cases one-half

MISCELLANEOUS. 329

Reminders in Estimating. — Printers should accustom
themselves to run down this list so that there be nothing
omitted : —

Composition

Presswork

Cards or paper

Rulework

Tabular work

Marginal or foot notes

Colour work

More than one working

Pressing

Ruling

Eyeletting

Making up furniture, etc.

Stitching or sewing

Folding

Cutting

Woodcuts

Ornaments

Cutting brass rule

Coloured ink and bronzes

Purchase of peculiar sorts

Numbering

Stereotyping

Electrotyping

Night work

In making up an estimate always give yourself the benefit of
a doubt, for when your price has once gone out to the parties
calling for it there is no appeal, but your customer has always
the right of asking for a revised estimate.

Steam Pipe for Heating. — The " Master Steam Fitter "
gives the following rule for finding the superficial feet of steam
pipe required to heat any building with steam : One super-
ficial foot of steam pipe to six superficial feet of glass in the
windows, or one superficial foot of steam pipe for every hun-
dred square feet of wall, roof, or ceiling, or one square foot of
steam pipe to eighty cubic feet of space. One cubic foot of
boiler is required for every 1,500 cubic feet of space to be
warmed. One horse-power boiler is sufficient to 40,000
cubic feet of space. Five cubic feet of steam, at seventy-
five pounds pressure to the square inch, weighs one pound
avoirdupois.

Preventing Explosion of Boilers. — A device has
been patented by a German. It consists of a plate or cover
held on a packing surrounding the outlet steam pipe, a weighted
rod or stem holding the cover or plate on the packing, while
a stop prevents the plate or cover seating itself on the outlet
pipe after the packing is removed or thrown out by the pres-
sure of steam from the boiler.

THE PRINTERS' HANDBOOK.

Power of Belting. — A belt travelling 800 feet per min-
ute will safely transmit one horse-power for each inch in width
if the pulleys are both of the same diameter, and the belt laps
over one half of each ; but if the belt laps on but one quarter
of either pulley's circumference, then it would have to travel
1,230 feet per minute to transmit a horse-power for each inch
in width.

The Ampersand. — The "character and" or "short
and " as it is known among printers, has the above title in the
dictionaries, where it is said to be " a corruption of and, per se
and, i.e. and, by itself and." It was originally formed — as
may be seen in some old-style italic founts of to-day — of a
combination of the capitals E andT,makingtheFrenchand Latin
word " et, " signifying " and." Its only use is in connecting firm
and corporation names, in &c., and it is sometimes permitted
in display lines where the whole word cannot be inserted.
Its use in any other case is obviously improper. Yet Smith, in
his day, mourned that the contraction c^' was obliged to yield
and to suffer " its comely form " to be supplied by the single
letters e and t. In a French history of printing, published in
1 740, the character i5^ is used for et in every instance except
where beginning a sentence. In giving the order of the lower-
case sorts^ Smith places the & between e and f.

The " Printers' Devil."— This trade term originated
in Italy. Aldus Manutius was a printer in Venice. He owned
a negro boy, who helped him in his office ; and some of his
customers were superstitious enough to believe that the boy
was an emissary of Satan. He was known all over the city as
"the little black devil," from his dirty appearance, as his face
and hands were generally well smudged with printing ink.
Desiring to satisfy the curiosity of his patrons, Manutius one
day exhibited the boy in the streets, and proclaimed as follows :
" I, Aldus Manutius, Printer to the Holy Church and the Doge,
have this day made public exposure of the Printers' Devil.
All who think he is not flesh and blood may come and prick
him ! "

MISCELLANEOUS. 331

The Printers' "Wayz-goose. — The origin of the word
" wayzsroose " is not generally known. On the authority of
Bailey the signification of the term is a " stubble-goose."
Moxon, writing in 1683, gives an early example of its use in
connection with the annual dinners of the printers of that time.
He says : — " It is also customary for all the Journeymen to
make every Year new Paper Windows, whether the old ones
will serve again or no; Because, that day, they make them the
Master Printer give them a Way-goose ; that is, he makes them
a good Feast, and not only entertains them at his own House,
but, besides, gives them money to spend at the Alehouse or
Tavern at Night ; and to this Feast they invite the Corrector,
Founder, Smith, Joyner, and Inkmaker, who all of them sever-
ally (except the Corrector in his own Civility) open their Purse-
strings and add their Benevolence (which Workmen account
their duty, because they generally chuse these Workmen) to
the Master Printer : But from the Corrector they expect
nothing, because, the Master Printer chusing him, the Work-
men can do him no kindness. These Way-goose are always
kept about Bartholomew-tide. And till the Master Printer
hath given this Way-goose the journeymen do not chuse to
work by Candle-Light." Other authors have quoted Moxon
on the above, adding, however, riders of their own composi-
tion, more fully explaining the meaning of the term. Thus
Timperley, writing in 1839, in a footnote, says: — "The deri-
vation of this term is not generally known. It is from an old
English word Wayz, stubble. A stubble-goose is a known
dainty in our days. A wayz-goose was the head dish at the
annual feasts of the forefathers of our fraternity." From this
it would appear that the original derivation was from the goose
which occupied the place of honour at the dinner, and not, as
some have striven to show, from the excursion which usually
forms part of their festival.

The Use of the Half-title.— The use of this fly-title,
sometimes called a bastard title, is for the purpose of protect-
ing the general or full title from injury. Without this additional
leaf in front, the title-page, being the first in the book, would
be very likely to get soiled.

332 THE PRINTERS' HANDBOOK.

Ancient Use of Vermilion. — Native cinnabar, or ver-
milion, a sulphuret of mercury, was, it is said, first prepared
by Kallias, the Athenian, five hundred years before the
Christian era. There was a minium or cinnabar wrought in
Spain from stone mixed with silver sand ; also in Colchis,
where they disengaged it from the fronts of the high cliffs by
shooting arrows at them. Pliny and Vitruvius call it minium,
and Discorides observes that it was falsely thought by some
to be the same as minium. Vermilion is the colour with
which the statues of the gods were painted. It was abundant
in Caramania, also in Ethiopia, and was held in honour among
the Romans. Their heroes rode in triumph with their bodies
painted with vermilion, and the faces of the statues of Jupiter
were coloured with this pigment on festal days. The mono-
chrome pictures of the ancients were wrought with it. There
was also an artificial kind of cinnabar, a shining scarlet sand,
from above Ephesus. Vitruvius and Pliny say that vermilion
was injured by the light of the sun and moon. To prevent
this result the colour was varnished by a mixture of wax and
oil. Sir Humphry Davy found vermilion in the Baths of
Titus.

Cultivating a Specialty. — All good work, if it is the
very best of its kind, has come of late years from men who
have made specialities of a particular kind of effort. Of print-
ing this is as true as of any other art, and I find that but seldom
does an office succeed in doing all kinds of work well. It is my
theory that one office, or one head man of an office, should
work exclusively on hand-presses, another on job-presses, a
third on registered colour work, and another on high-class
black and white, or single-colour work. Of course this is im-
practicable just now ; but it is as certain to come in time as a
distinguishing characteristic of all great offices as it is true that
the indications unquestionably point that way even now.

Lead Pencils. — A perfect one should be strong, smooth,
black, soft ; should keep its point well in wear, be pleasant to
use, and the mark should disappear entirely under rubber,
leaving the paper perfectly clean.

MISCELLANEOUS. 333

Coats of Arms. — It will be in the recollection of many
that the Government recently prohibited the use of the Royal
Arms by persons not having written authority to display them.
The same rule applies to the arms of the various counties and
boroughs. Except by Royal licence no person has the right
to assume any heraldic device, unless by sanction of Heralds'
College and the payment of a yearly duty ; and no tradesman
has any more right to use the coat of arms of the borough or
county in which he resides, on anything he issues in the way
of trade, than he has to print thereon the arms of the lord
lieutenant of the county, which, of course, he would never think
of doing. As this rule is frequently infringed, we give this in-
formation as a caution, else some persons may find themselves
possessed of a large quantity of printed matter, against the
issue of which they run the risk of receiving an injunction in
Chancery, or some other equally disagreeable process at law.

Good Light. — There are few mechanical occupations
where the need of good light is so imperative as in a printing
office. There are so many small details that have to be
seen to, whether it be in composition or presswork. Defective
light of any kind greatly impairs the efficiency of every man
compelled to labour in it. In this respect, it is very poor
economy to locate a printing office in a room or rooms where
the amplest light cannot be obtained, or to use a poor light.
The best of oils and gas are poor substitutes for daylight, and
besides, they cost more money. Too vivid a light can be shut
off by screens or curtains ; but none of us can evoke the sun-
shine at will, or lengthen the day at either end. The continual
burning of gas all day, as observed in some printing offices, is
wasteful indeed, and the extra expense it entails, directly or
indirectly, would go a good way towards paying a higher rent
for better lighted quarters.

Preventing Gummed Stamps, etc., Sticking. — To
keep postage stamps and other gummed articles from stick-
ing together, rub over the head ; the natural oil on the hair
oils them.

334 THE PRINTERS' HANDBOOK.

Gold Leaf Printing on Silk. — Take a fine brush of
camel's hair and coat the silk or satin ribbon with a thin layer
of silicate of potassa (water glass). Let it dry and then print
in the usual way with gold ink. Grind burnt sienna as thickly
as possible with No. 3 varnish and add the following reducers :
10 parts of yellow wax, 10 parts of Venetian turpentine, 25
parts of No. 2 varnish, and 5 parts of burnt linseed oil. Use
this mixture when thoroughly blended and melted together as
a regular reducer to the sienna ink ; print as usual, taking care
that too much ink never gets upon the roller, and when the
impression is made put on the gold leaf, Dutch metal, silver
leaf, etc. Place a sheet of the finest glazed paper (such as the
gold bronze is usually packed in) with the glossy side toward
the gold and pull once again through the press, by which you
can make another new impression as usual in gold leaf printing
on paper. Let the impressions remain over for a day, then
rub off the superfluous gold with soft, clean cotton dipped in
soapstone, and the impression will appear clean, sharp, and
solid.

Relief and Plain Stamping. — The following directions
issued by Messrs. Baddeley Bros., of Chapel Works, Moor-
lane, London, will be found useful : —

Directions FOR Plain Stamping. — Fasten the die in die-dish
with gutta percha if it has no shank, if it has a shank the
screw in die-dish will be sufficient to hold the die firmly ; cut
two or three pieces of gummed cardboard, take one piece and
damp the gum, placing it on the die with the gummed side
upwards, then bring down the lever with a smart blow (the
" dab" or piece of jagged steel being at the top, to which the
gummed card will then adhere), then take the other pieces and
treat in a similar manner. After striking them two or three
times, take the dab from the press, with the card counterpart
adhering, and then take a small piece of gutta percha and
heat it, but not so as to burn, and place it on the cardboard,
spreading it with the finger over the work — first damping the
finger to prevent the gutta percha sticking to it ; replace the
dab in press and place a thin piece of paper on the die and
bring the lever down with a moderate pressure — a counterpart

MISCELLANEOUS. 335

will be the result — then take a penknife and cut away the
superfluous gutta percha close to the work. The guide board
being fixed,insert pins therein to suit the position required of
impression on paper or envelope, and bring down lever to give
the blow.

Directions for Relief Stamping. — When the counterpart
is made, mix the colour (on a slab, using the best pale paper
varnish) to the substance of thin gum ; then take the die out
of press and brush the colour well into it — exchange into right
hand, face downwards, and wipe off the colour on to printing
paper (about a quire of rather rough 4to) on to the bench.
Let this be done regularly and systematically, so that paper is
not wasted. The colour by this process is taken off the sur-
face, but left in the engraved work. Place the die again in the
press, insert paper, bring down the lever with a sharp blow,
and the result will be a perfect impression. If the colour on
slab and the brush should get dry, a few drops of turps will
moisten it. To keep brushes moist wrap them in paper after
using, to keep the air from them. To make the impression
glisten or shine, mix the colour a day or two before using,
and use no turps. Never let the colour remain on slab, as it
will dry up. Keep in small gallipots covered, after being mixed
up on slab.

Directions for Cameo Work. — The same instructions to
form counterpart as above. Relief colours will not do for cameo ;
they must be bought ready mixed. Take a small portion on
to the slab, distribute the roller well, and roll the face of die
thoroughly ; after which, place the paper in position, and
strike as for plain and relief. The treatment of cameo stamp-
ing is almost identical with letterpress printing. The rollers
are the same material, and require the same attention ; and
especial care must be taken that too much colour is not
taken up on the roller, and that it is well distributed, to avoid
clogging up the letters.

Printing on Vellum. — It is said that no difficulty will
be experienced in printing on vellum if it is first sponged over
with soapy water.

336 THE PRINTERS' HANDBOOK.

Printing on ^Vood. — There is a French invention for
printing on wood by means of hot type. A guide regulates
the degree of heat. The inventor claims that the impression
is as neat as if obtained by lithography. By using a special
mk cold type may be employed. Only one man is required
to work the machine, which will print 350 boxes or 400 flat
pieces of wood an hour.

Daguerreotype. — The practical inventor of photography
was Daguerre, a Frenchman. In 1839 he published a descrip-
tive treatise in French — afterwards translated into English,
German, etc. — entitled : " History and Practice of Photogenic
Drawing on the true principles of the Daguerreotype, with the
new method of Dioramic Painting. Secrets purchased by
the French Government, and by their command published for
the benefit of the Arts and Manufactures." A later edition
contains an addition to the title-page : " This process consists
in the spontaneous Reproduction of the Image of Nature re-
ceived in the Camera Obscura, not with their colour, but with
great nicety in the gradation of shades."

Maxims for Printers.

It is better to remain idle than to work at a loss.

Genius is as rare in printing as in any other art.

Legitimate competition is a sign of life and health.

Do your work carefully, striving for constant improvement.

Follow copy, provided it is good, and never copy anything bad.

You cannot be a successful printer if the imprint of care and
study is not upon brain and hands.

Preserve all specimens of good work that come into your
possession, and spend your leisure time in their study.

Unless an apprentice is possessed of an ambition and determi-
nation to excel, the chances are that he will always be but a
poor workman.

Skill in business, a well-earned reputation for uniformly
superior work, a good financial credit, promptness, honour-
able and liberal dealing, correct and steady personal and
business habits, are absolutely necessary concomitants of
success.

MISCELLANEOUS. 337

No matter how good a printer you are, you will learn some-
thing new every day ; and in every job you do for a cus-
tomer, study how you can improve it next time. Never let
a poor or carelessly executed job go out of your office, no
matter even if, by mistake in " estimating," or for any other
reason, you may lose money on this particular one.

Study the work of first-class printers. A skilful workman has
expended time, thought, and labour in its production.

It is not the grace or beauty of a single line that produces the
result sought. The specimen must be judged as a whole.

Never curve a line where it would look better straight.

Do not crowd a job to put in a flourish or ornament.

Elaborate borders can only be used effectively by first-class
workmen.

A plam rule border, with a neat corner, is more effective than
a display border on a small card.

Ornament has to be kept strictly within the stern chasteness
of taste, and permits of no extravagance of detail.

Ornament should always be subservient to its proper use.
Any superfluity or preponderance destroys the proper effect.

Better do a good, plain job in black ink and one style of type,
than an outrageous combination of fantastic ornaments in
the glowing hues of the rainbow.

The use of ornaments requires a cultivated taste. They were
intended to " light up," not smother ; to give an " airy
grace," not detract; to do away with "monotony," not
make a dreary waste.

Colour Blindness. — This is much more common among
printers than is generally supposed, if one is permitted to
judge from jobs sent out. The land, especially during the holi-
day season, is flooded with abominations of tint and taste,
with miserable chroinos and calendars that are a disgrace to
the art. When will craftsmen learn to avoid the delusions
and pitfalls of colour, and assert the strict taste embodied in
black and white ? Zebra-striped and rainbow-illuminated
monstrosities will ever be a plague to the inventor, and are
worthy only of some demented meinbers of the paste-brush
brigade. Printing gains nothing and loses much from such

338 THE PRINTERS' HANDBOOK.

violations ot established rules, which in many instances proclaim
the perpetrator upon a long-suffering public to be afflicted
with distorted vision and colour blindness. Of course, we do
not refer to the product of the true artist, which is always
pleasing, but to the efforts of those who invariably go beyond
their depths.

The First Printed Book was printed in 1455 from
movable types, and is called the 42-line or " Mazarin " Bible.
It was executed at Mentz, and is generally attributed to Guten-
berg, though of quite recent years thought to be due to Peter
Schoeffer.

The First Dated Book. — The first book printed with
a date, and the first example of printing in colours, is a psal-
ter, printed in Latin, on vellum, Faust & Schoeffer, at Mentz, in
1457. The initial letter commencing each paragraph is printed
in red. It is supposed to have been the first psalter printed.
The British Museum contains a copy of this ancient pub-
lication.

Registration at Stationers' Hall. — This is not a com-
pulsory matter, but should anyone desire to bring an action for
infringement of title or copyright it must then be registered
(if this has not already been done), the date of publication
being the criterion of priority. A five-shilling fee is exacted
by the Stationers' Company when the application is made and
the title of the volume duly entered. Very frequently the
fact of registration is expressed at the bottom of the title-page,
but this is really not necessary if the date is there.

APPENDIX: Commercial Information.

Weights^ Measures, etc.

Avoirdupois Weight.

= 1 Ounce.

16 Drams

16 Ounces

14 Pounds

28 Pounds

4 Qrs. or 1 12 lbs.
20 Hundredweight

One pound Avoirdupois contains 14 ozs. 1 1 dwts. 16 grains
Troy ; or 1 14 lbs. Avoirdupois are equal to 175 lbs. Troy.

1 Pound.

1 Stone.

1 Quarter of cwt.

1 Hundredweight.

1 Ton.

20 Grains
3 Scruples
8 Drams

12 Ounces

Apothecaries' Weight.

1 Scruple.
1 Dram.
1 Ounce.
1 Pound.

The pound and ounce Apothecaries' weight are the same
as in Troy weight, but the smaller divisions are different.

60 Minims
8 Drams

20 Ounces
8 Pints...

Apothecaries' Measure.

= 1 Dram.

= 1 Ounce.

= 1 Pint.

= 1 Gallon.

340

THE PRINTERS' HANDBOOK.

Standard Troy Weight.

4 Grains = l Carat.

6 Carats or 24 grains = 1 Pennyweight.

20 Pennyweights = 1 Ounce.

12 Ounces = 1 Pound.

One pound Troy is equal to 13 ozs. 2^ drs. Avoirdupois :
the former contains 5-760 grains, and the latter 7,000.

The standard for gold coins is 22 carats of fine gold and
2 carats of copper ; for silver, is 11 ozs. 2 dwts. silver and 18
dwts. alloy, from which 66 shillings are coined.

Wine and Spirit

Gills ..

Pints ..

Quarts

Gallons

31-

5^ Gallons

42 Gallons

63 Gallons

84 Gallons

2 Hogsheads or 126 galls. =

2 Pipes or 252 galls. ... =

The Imperial Gallon, which is
Capacity, contains 277^ inches 1
Avoirdupois of distilled water, at a

Measure.

= 1 Pint.

1 Quart.

1 Gallon.

= 1 Flagon.

1 Anker of Brandy.

: 1 Runlet.

= 1 Half Hogshead.

1 Tierce.

: 1 Hogshead.

1 Puncheon.

: 1 Pipe or Butt.

: 1 Tun.

the Standard Measure of
S'ery nearly), or 10 lbs.
moderate temperature.

Ale and Beer Measure.

Pints

Quarts

Gallons

Firkins or 18 gallons ...
Kilderkins or 36 gallons
l| Barrels or 54 gallons...

2 Barrels

3 Barrels or 2 hhds.

1 Quart.

1 Gallon.

1 Firkin of Ale or Beer.

1 Kilderkin.

1 Barrel.

1 Hogshead.

1 Puncheon.

1 Butt.

APPENDIX.

341

Long Measure.
12 Inches =

3 Feet =

5 Feet =

2 Yards or 6 Feet =

5| Yards, or 16^ Feet =

4 Rods, or 22 Yards =

40 Rods, or 10 Chains =

8 Furlongs, or 1,760 Yards ... =

3 Miles =

60 Geographical, or 69^ English") _

Statute Miles ..." / ~

1 Foot.

1 Yard.

1 Pace (geomet.)

1 Fathom.

1 Rod, Pole, or Perch.

1 Chain.

1 Furlong.

1 Mile.

1 League.

1 Degree.

360 Degrees

_ /"Circumference of the
~ \ Earth.

Horses are measured by the hand of 4 inches,
is divided into 100 links.

The chain

Land or Square Measure.

144 Square inches

9 Square Feet

30^ Square Yards

16 Poles

40 Rods, poles, or perches

4 Roods, or 10 chains, or 160 rods

640 Acres

1 Square Foot.

1 Square Yard.

1 SquarePoleorPerch.

1 Chain.

1 Rood.

1 Acre of Land.

1 Square Mile.

Motion

60 Seconds

60 Minutes

30 Degrees

90 Degrees

4 Quadrants or 360 Degrees

360 Degrees of Motion

15 Degrees

1 Degree

= 1 Minute.

= 1 Degree.

= 1 Sign of the Zodiac.

= 1 Quadrant.

= 1 Great Circle.

= 24 Hours of Time.

= 1 Hour.

= 4 Minutes.

342

THE PRINTERS' HANDBOOK.

Solid or Cubic Measure.

= 1 Solid Foot.

= 1 Yard or Load.

40 Feet of unhewn, or 50 feet of) ^ t j

^ , . , ' "^ > = 1 Ton or Load,

hewn timber J

42 Feet = 1 Ton Shipping.

1,728 Inches
27 Feet

A cubic foot of water weighs 1 ,000 ounces Avoirdupois.

Dry Measure.

Pints

Quarts

Pottles or 4 Quarts ...

Gallons

Pecks, or 8 Gallons ...

Bushels

Coombs or 8 Bushels

Quarters

Quarters or 10 Coombs
Weys

= 1 Quart.

= 1 Pottle.

= 1 Gallon.

= 1 Peck.

= 1 Bushel.

= 1 Strike.

= 1 Coomb.

= 1 Quarter.

= 1 Chaldron.

= 1 Wey or Load.

= 1 Last.

All kinds of Grain, Salt, etc., for which this measure is
used, are to be stricken with a straight roller. The standard
bushel is 19^ inches diameter and 8^ inches deep, and
contains 2,2 l8i- cubic inches.

Wool Weight.

28 Pounds = 1 Tod.

240 Pounds = 1 Pack

Wool is sold at per lb. The price per lb
represents the value per pack in pounds sterling.

m pence

Cloth Measure.

2 J Inches ...

1 Nail.

4 Nails

1 Quarter.

3 Quarters

1 Flemish el

4 Quarters

1 Yard.

5 Quarters

1 English ell

6 Quarters

1 French ell.

APPENDIX.

343

Metrical System, with English
Equivalents.

Measures of Length.
The Metre is the Unit ; it is about 39y inches in length.

Inches.

0-39

393

3'37

3370

13-08

22-30

Metric Terms.
Centimetre
Decimetre
Metre
Decametre
Hectometre
Kilometre

Metres.

1
10

100
1000

Yds.
O

o"
1

10
109

1093

Measures of Weight {Avoirdupois).

The Gramme is the Unit ; it is rather more than \ an ounce.

Metric Terms. Grammes. Ozs. Drams.

Centigramme ... = -j-^-o- = o 0*0056

Decigramme = -~^ — o 0'0564

Gramme = 1 = o 0-564

Decagramme ... = 10 = o 5'643

Hectogramme ... = 100 = 3 8*438

Kilogramme = lOOO = 35 4*38

Measures of Capacity.

The Litre is the Unit ; it is nearly if pint.
Metric Terms. Litres.
Centilitre
Decilitre

Litre ...
Decalitre
Hectolitre
Kilolitre

100

1000

Galls. Pints.

o 0-0176
0-1760
1-760
1-607

0-077
o*77

o
o

220

Measures of Surface or Square Measure.
The Are is the Unit.

^Metric Terms. Ares. Sq. Metre. Acre. Sq. Yds. Inches.

Centiare = ^-o-o = l = O I-1960 00-14

Are = 1 = 100 = o 119-6033 10-79

Hectare = 100 = loooo = 2 2280-3326 22-79

344

THE PRINTERS' HANDBOOK.

Dates of the Quarter Days.

Lady Day

Midsummer Day
Michaelmas Day
Christmas Day ..

25th March.
24th June.
29th September.
25th December.

Stamps.

Bills of Exchange payable on demand for any amount,
id. Ditto of any other kind, also Promissory Notes, not
exceeding— ^5, id. ; £\o, 2d.; ^25, 2,d--^ £50, 6d.;
£lSi 9^-; p^ioo, Is.; every ;^lOO, and fractional part of
jQloo^ of such amount, is.

Lease, or Agreement for Lease, of lands, tenements, etc.,
for 35 years and under, at a yearly rent not exceeding £$,
6rf. ; £\o, IS.; ^15, IS. 6rf. ; ^20, 2s. ; £25, 2s. 6d. ;
£50, 5s.; £lS, IS. 6rf. ; ;^lOO, 10s.; exceeding ;^100,
for £50, or fractional part of £50, 5s.

Conveyance or Transfer. — Of Bank of England Stock,
7s. gd. ; East India Company Stock, ^l 10s. Of any
debenture Stock or funded debt of any company or corpora-
tion, and colonial generally — for every ;^lOO, or fractional
part of ;^lOO, 2s. 6d. Copy or Extract, the same duty as
original, but not to exceed is.

Affidavit or statutory declaration, 2s. 6c?.

Agreement, or memorandum of agreement, under hand
only, not otherwise charged, 60?.

Appointment of a New Trustee, and in execution of a
power of property, not being by a will, los.

Appraisement or Valuation of any estate or effects where
amount of appraisement shall not exceed — £s, 30?- ; £iO,
6d. ; ;^20, IS. ; ^30, Is. 6d. ; ^40, 2s. ; ^^50, 2s. 6c?. ;
;^ioo, Ss. ; ^200, 10s. ; £500, 15s. Exceeding £500, 20s.

APPENDIX.

345

Rates of Postage, Money Orders, Parcel
Post, etc.

Rates of Postage. — Throughout the United Kingdom, for
prepaid letters : —

Not exceeding 4- oz.

Exceeding l oz. but not exceeding 2 oz.

lO
12

\d.

2d:

Hd.

3d.

3^d.

4d.

And so on at the rate of ^rf. for every additional 2 oz.

A letter posted unpaid is chargeable on delivery with
double postage, and a letter posted insufficient!}^ paid is
charged double the deficiency.

For rates of Foreign Postage, see the Post Office Guide,
which is published quarterly.

Post Cards. — Post Cards available for transmission in the
United Kingdom only, are sold at shd., or of finer quality at
6d. per packet of lo. They can also be had in smaller num-
bers, or singly. Foreign post cards, id., l^d., and 2d. each.

Stout Reply Post Cards are sold at Ijc?. each. Thin Reply
Post Cards are charged l^d. each.

The front side of Post Cards is for the address only.

Inland Book Post. — The Book Post rate is one h«(if-penny
for every "2~oz., or fraction of 2-oz. Every book packet must
be posted either without a cover, or in a cover entirely open
at the ends.

Postage on Inland Registered Newspapers. — (Prepaid
Rate.) — On each Registered Newspaper, whether posted singly
or in a packet, the postage when prepaid is one half-penny ;

346 THE PRINTERS' HANDBOOK.

but a packet containing two or more Registered Newspapers is
not chargeable with a higher postage than would be charge-
able on a book packet of the same weight.

The postage must be prepaid either by an adhesive stamp
or by the use of a stamped wrapper. Every newspaper, or
packet of newspapers, must be posted either without a cover
or in a cover entirely open at both ends.

No newspaper may contain an enclosure, or any writing of
the nature of a letter.

Post OfficeTf.legrams. — The charge for Telegramsthrough-
out the United Kingdom is 6d. for l 2 words, and ^d. for every
additional word. Addresses are charged for. Postage stamps
are used for payment, and must be affixed by the sender.

Money Orders for the United Kingdom. — Money Orders
are granted in the United Kingdom at the following rates: —

For sums not exceeding ^l, 2d.

For sums exceeding ^l and not exceeding p{3' 3^-
£2 „ „ £4^ 4d.

„ „ „ ^ „ » ^10, 6d.

Postal Orders. — A new form of postal order, for fixed
sums, is now issued ; on those for is. and is. 60?. the charge
is \d. ; for 2s., 2s. 6f/., 3s., 3s. 6(/., 4s., 4s. bd., ss-, is. 6rf.,
lOs., and 10s. 6t/., it is \d.\ for 15s., and 20s., it is l^rf.
These notes can pass from hand to hand like money.

Money Orders Payable Abroad. — Money Orders are
issued in the United Kingdom on France, Belgium, Switzer-
land, Germany, the United States, and several other foreign
countries, and on most of our Colonies, at the following
rates: — For sums not exceeding ^2, bd.; ^£5, is.; ^T,
is. 6d. ; ^10, 2s.

Registration. — On the prepayment of a fee of twopence,
any letter, newspaper, or book packet may be registered to
any place in the United Kingdom or the British Colonies.
Every letter, etc., to be registered must be given to an agent

APPENDIX. 347

of the Post Office, and a receipt obtained for it. Registered
letter envelopes are sold at all Post Offices.

Parcel Post. — Parcels not exceeding 1 1 lb. in weight may
now be transmitted by the Inland Parcels Post under the
following general conditions : —

The rate of postage is for an Inland Postal Parcel —

Not exceeding l lb. 3c?.

Exceeding 1 lb. and not exceeding 2 lbs. ^e^d-

And so on, adding i|rf. for every additional lb. up to 1 1 lb.,
which is charged is. bd.

The dimensions allowed for an Inland Postal Parcel will
be:—

Greatest length 3 feet 6 inches.

Greatest length and girth combined 6 feet.

For example, a parcel measuring 3 ft. 6 in. in its longest
dimension may measure as much as 2 ft. 6 in. in girth, i.e.,
around its thickest part.

A Parcel Post is now established between the United King-
dom and many foreign countries, and the British Colonies
and Possessions generally.

Stamps (Postage and Inland Revenue). — Postage stamps
of the value of \d., 2d., 2,d., 6c?., gd., is., and 2s. 6c/. are now
used for Inland Revenue purposes to denote the duties on
Agreements, Bills of Exchange, Delivery Orders, Receipts,
Voting Papers, etc.

Days of Grace. — Bills of Exchange or Promissory
Notes, payable at any time after date, have three Days of
Grace allowed: thus, a bill dated 1st January at two months'
date is not due till 4th March ; but by a recent Act no Days
of Grace are allowed on Bills drawn at sight or on demand ,
such must, therefore, be paid on presentation. Bills falling
due upon " Bank Holidays " are payable the day after ; but
those falling due on Sundays, on Good Friday, or Christmas
Day, must be paid the Day before.

348

THE PRINTERS' HANDBOOK.

Coins of Foreign

With approximate value in

America — Dollar = lOO Cents

Austria — Florin = loo Kreuzers

China — Tael of Silver

Dollar

France and Belgium —

Napoleon = 20 Francs
Franc = lOO Centimes

German Empire — 20 Marks
Mark = 100 Pfennige

Greece — 20 Drachma ...
Drachma = 100 Leptas

Holland — Ducat

Gulden or Florin = lOO Cent

India — Mohur = 15 Rupees ...

Rupee = 16 Annas

Anna = 12 Pies

Italy — Lira = 100 Centesimi...

Jap.\n — Yen =100 Sen

Norway, Sweden, and Denmark —
Crown — 100 Ore

Portugal — Milrcis = i,ooo Reis

Russia — Imperial

Rouble = 100 Copecks

Spain — 5 Dollar

Dollar = 20 Reals ...
Peseta (lOO Centavos)

Turkey — Medjidie = 100 Piastres
Piastre = 40 Paras

Countries.

English money.

APPENDIX. 349

Interest Table. — The following is a simple method of
calculating interest on any given sum for any number of
days, at five per cent. : —

Multiply Pounds by the number of days for which it is
required to ascertain the interest ; this sum, divided by 365,
will give the interest in shillings at five per cent.

Example. — Wanted to ascertain the interest on ^479 for
71 days:— 479 X 71 ^ 365 = 93"17 = ^4 ^Zs. 2d. Or the
interest on ^2SO for 73 days at the same rate : —

250
73

750
1750

365X18250/505. = £2 10s.

/1825 V

If any other rate is required, it is easily calculated by
adding to or deducting from the five per cent, product : —
2^ per cent, is one-half.

3 per cent, is six-tenths.

3^ per cent, is seven-tenths.

4 per cent, is four-fifths.
6 per cent, is six-fifths.

1^ per cent, is one-half more.

Thus 5 per cent, upon £tO for ten months would be
£2 10s. ; 2\ per cent., ;^i 5s. ; at 3 per cent., £\ lOs. ;
at 3^ per cent., £\ 15s. ; at 4 per cent., £2. If the rate of
interest be more than 5 per cent., then the addition must be
added. Thus, to reckon 6^ per cent, add one-fourth ; for
7^ per cent., one-half. Bankers and money-dealers calculate
the interest for every day, and have volumes of tables con-
structed specially for the purpose, the five per cent, tables
alone extending to nearly 400 pages.

INDEX OF SUBJECTS.

The entries in small capitals are those of sections.

ACCENTED letters, T3
Account books, sizes of, 150
.'Esthetics and blotting-paper, 176
Albertype, 300
Albion press, erecting, 83
Ale and beer measure, 340
Alloy which expands on cooling, 202
Aluminium silver, 30o
American point system, 36
Ampersand, the, 330
Aniline black tor printing on cloth,
123

ink, to remove from hands, 110
Apothecaries' measure, 339

weight, 339
Appendix, 339
Autography, 219
Autotype plates, 315
Avoirdupois weight, 339

Barbed spaces, 6

Barking the knuckles, 72

Bastard types, 27

Battered letters, receptacle for, 21

Belting, gluing machine, 56

cotton, 82

power of, 330

preservative for, 82

to protect, 59

to test leather, 80
Belts, rubber lubricator for, 276
Binding, a ciicap, 263

a strong, 262

to restore gloss, 267

waterproof, 257

wood for, 254

Bindings, preservation of, 263

to preserve from mildew, 259
Black bordering, 110

edges, 270

enamel for brass plates, 119

for binders, 270

on white in photography, 308

under glaze, 266
Blackino- skins, 140
Blocks tor engravers, new method of
preparing, 249

for tinted grounds, 38

for tinted patterns, 31
Blotters, how printed, 61
Blotting paper for du])licating copies,

176
Blue books, colours of Government,

325
Blue paper, white marks on, 304
Bodkins, 3

Boiler incrustation, 327
Boilers, preventing explosion of, 329

to prevent scaling, 312
Book covers, imitation bronze for, 261

labels, 261

margins of a, 260

the first dated, 3 i8

the first printed, 338
BooKBiNniNG, 254
Bookbinding, pig-skins for, 259
Bookpost, inland, i4-.5
Books, bibliographical names of, 260

covers of, 254

edges of, 260

hints on care of, 270

in British Museum, colour of, 256

INDEX OF SUBJECTS.

351

Books, mildew in, 256

preventive against dampness, 262

remedy for soiled, 260

sizes of, 257
Bookwork, leug-th and width of pages
for, 19

measures for, 18
Border cases, 52
Borders, 28
Brass against acids, to protect, 285

rule, twisting, 17

rules, to clean, 305

to clean, 274

to keep from discoloration, 273
Bronze or changeable hue, 103

a plaster cast, how to, 292

colours for, 273

how to print with, 68

preservation of, 275

printing in, 71

to clean, 273

to make stick, 69

work, composition for, 110
Bronze-printing, facilitating, 128

how to improve, 62
Bronzing after printing colour, 58

French, 325

on plated papers, 57

paper, 138
Brown papers, sizes of, 150

Cameo work, directions for, 335
Cards, number in a royal board, 146

sizes of, 152
Caries, keeping clean, 15

racks, arrangement of, 3

racks, hint lor, 50
Cast-off copy, how to, 44
Catgut, imitation, 304
Celluloid, 316
Cement, diamond, 192

for cloth, 192

for envelopes, 195

for leather, 192, 266

for rubber or metal, 187

proof against acids, 185

stopping for wood, 188

transparent, 186
Chamois leather, 317

leather, to clean, 293
Chaostype, 50

Charred books, to separate leaves, 272
Chases, value of good, 25
Chinese gold lacquer, 274

white, to make, 107
Chromograph bed for copying, 319
Chromo-lithography, preventive of

sheets sticking, 214
Chromos for framing, to mount, 318
Cleaning formes with steam, 5
Cleanliness in press-room, 80
Cleansing formes and rollers, 62
Cloth measure, 342

rendering waterproof, 170

tracings,"288
Coats of arms, 333
Cockroaches, protection against, 268
Coins of foreign countries, 348
Collotype, 229
Colour blindness, 337

hints on, 78

printing, mistakes in, 61

printing machme, new, 76
Coloured inks, liquid for brightening,
122

inks, printing of, 74
Colouring photogTaphs, 286
Colours, blending of, 73

hints on, 101

method of printing in, 73

on the mixture of, 84

selection of, 69
Columbian press, erecting, 82
Commercial Infoumatiox, 339
Composing Room, 1
Composing room tools, 11

stick introduced, 34

stick, new, 34

stick, the, 34
Composition, hints on, 52
Compositors' book scale (London ), 41

requisites, 7
Copying printing ink, hint for, 129

process, a new, 298
Copyright, 319
Cork tint blocks, 43
Cost, what constitutes, 328
Cotton sheeting, to write on, 313
Crayons, common, how made, 283

composition for, 284
Creases out, to take, 138
Creasing of sheets on machines. 77

352

THE PRINTERS' HANDBOOK.

Crystalline coating for paper, 154
Crystallotypy, 286
Cultivating a speciality, 332
Curved lines, justification of, 49
Cuts, place for, 38
Cutting machine, new, 177
Cylinder packing, 55

Daguerreotype, 336
Days of grace, 347
Dead gilding, 276
Dextrine, artificial, 286

substitute for gum, 187
Don'ts for compositors, 13
Doorplate engraving, 251
Draughtsmen, hints to, 297
Drv measure, 342
Dryer tor printing ink, improved, 104

for printing ink, 119

for ruling inks, 108
Drying of printed work, rapid, 166
Duetor, dividing for colour work, 57
Dust from polished siirfices, to re-
move, 273
Dye, calico printing, 119

Electi-ic printing, 318

spark, an, 317
Electrical attraction in paper, 66
Electro-matrice, type-founding, 40
Electrotypprs' moulding wax, 207
Electroty])fS, nickelled, 199

to preserve, 199
Electrotyping handwriting, 201
Emboss, easy way to, 311
Enamel, cardboard, lif!2

dials, how to print white, 323

for artistic purposes, 123

for iron, 285
Enamelling cardbonrd, 137
Engravers' [date marks, 246
Engraving and Prockss Work, 229
Engraving, doorplate, 251

machine, new, 2 >()

new process of, 232

on glass, 234

on zinc, 246

photo-mezzotint, 243

with mercury, 236 ,

Engravings, to cleanse old, 299
Envelopes, printing of, 63

Envelopes, safety, 141, 178

sizes of, 146
Estimating, reminders in, 329
Etching by process, 234

fluid for steel, 235

how done, 247

metal surfaces. 253

on copper, 249

on glass, 253

of iron, 233

to print an, 252
Eyes in proof reading, protection of.
319

Fichtner's process, 242

Flong, to make, 202

Flower barometers, 297

Flj'-paper, non-poisonous vetjetable,

172
Formes, locking-up for foundry, 42
Fountain pen, home-made, 281
Founts, displaj-, 25

poster, 34

scarce, 22
French papers, sizes of, 152
Frost on glass, prevention of, 287
Furniture cleaning , 252

wooden, 29

Galley proofs, hint for, 20
Galleys, distribution, 53
Galvano-engraving, method of, 238
Gas burners, hint for, 324
Gauges, setting, on a platen, 71
Gelatine, to preserve, 193
(ielatining, how donp, 314
I German papers, sizes of, 153
Gilding bronze, a cheap, 272

edges of cards, 264

leather, 268

on water-coloured edges, 267

solution, 275

upon marble edge, 265
Gilt frames, to clean, 298

goods bright, to keep, 274

lettering on glass, 324

sunk and raised letters in stone or
marble, 317
Glass for paring on, ^65

gilt lettering on, 324

to fasten transparencies on, 313

INDEX OF SUBJECTS.

353

Glass, to silver, 309
Glazed boards, sizes of, 1,50

boards, to clean, 169

surfaces, printine; on, 71
Gloss, hardeninn;', for ink, 106

varnishing, 306
Glue, 189

dry pocket, 188

fluid, 193

insoluble, 186

liquid, 191, 193

marine, 189

moisture proof, 196

mouth, 189

paste or mucilage, 185

stamps, to make, 205

to test bookbinders', 185

turning sour, to prevent, 187
Gold bronze, substitute for, 276

bronze, to make, 133

lacquer, imitation, 108

leaf, manufacture of, 258

leaf printing on silk, 334

printing, hint for, 128

size, substitute for, 126
Good light, li33

'Graph process with printers' ink, 294
Grease from paint, to remove, 317

spots, to remove from books, 296

spots from paper, to remove, 138
Ground glass, imitation, 287
Gum arabic, 195

arabic, substitute for, 197

bottle, new, 324

for backing labels, 193

turning sour, to prevent, 191

water stains, to remove, 299
Gummed paper, 137

stamps, to prevent sticking, 333
Gumming, 190

recipe for, 192

Hair spaces, scarce, 47
Half-title, use of the, 331
Hand-presses, sizes of platens of, 87
Handmade papers, how made, 162
Hands soft, keeping the, 327
Hard packing, 75
Helioline engraving, 250
Horse-power, 311
House, style of the, 2

Imitation leather, 270
India-rubber oil, 277

gas tubes, to render odourless, 280
Indigo printing on cloth, 301
Ink, black, on coloured paper, 60

black marking, 134

black writing, 126

blue black writing, 134

can for printers', 127

cardinal, for draughtsmen, 116

cheap black, 112

China or Indian, 124

chrome writing, 114

component parts, 104

copying, 105

diamond, for glass, 116

difficult distribution of, 59

endorsing, 105

engravers' transfer, 123

eraser, new, 313

eraser, perennial, 328

extractor, 127

for bronze and metal, 122

for enamelled cards, 119

for writing on glass, 115

fi-ost-proof, 115

glossy writing, 120

gold," 106

good, for cuts, 71

handling of small cans of, 104

how to improve black, 107

imitation Indian, 133

imperishable, 108

indelible, 109, 121

indelible, for rubber stamps, 125

indelible aniline, 119

indelible Indian, 113

indestructible, 114

lithographic, 117

lithographic writing, 120

marking, 114

method for making red, 105

new invisible, 118

old manuscript, 116

orange ruling, 124

plant, a peculiar, 130

plate transfer, 1 22

prepared blue, for printing. 111

preserving, 105

printing, 107

quick drying Indian, 111

354

THE PRINTERS' HANDBOOK.

Ink, recipe for marking, 118

recipe for printing gloss, 119

red marking, 131

rubber stamp, 111

sea-green ruling, 1'25

silky effect to, 113

slabs for colour work, 126

spots from cloth, to remove, 296

stencil, erasible, 112

stencil blue, 106

stiff, 129

sympathetic, 112

tablets, 12.i

thinning, 129

ticket writers', 113

to make silver, 133

to make stencil, 103

to make white, 10,5

type-writer, 103

vanishing black writing, 117

violet aniline, for 'gfraph, 112

violet copying, 132

white, for pen drawing, 117

white ruling, 121
Inks, about, 74

care of printing, 129

coloured writing, 125

good dryer for poster, 103

hints about printers', 132

hints on using, 75

letterpress and lithographic, 128

photo-lithographic, 121

preserving printers', 121

reducing tint, 104

reflection of coloured, 129

ruling, 124

stamping, 104

type-writing, 131
Inks, Varnishes, Etc., 101
Insects, to preserve books against, 269
Interest table, 349
Iron from steel, to distinguish, 313
Italian papers, sizes of, 154
Itali'-, origin of, 23
Ivory casts, imitation, 287

imitation, 318

Japan and varnish, to test, 112
Japanese handmade paper, 182
Japanners' gold size, 105, 273
Job fount schemes, 10

Jobbing types, distribution of, 37
Jobs on handmade paper, 11
Jute in linen, 314

Labels on cans, mounting, 192

printing and cutting of, 72

waterproof, 160
Land or square measure, 341
Lay, hint for centring, 65
Lead pencils, 332

pencils, counting, 282

pencils, plumbago in, 281
Leads, casting, 9

clearing away, 20

number of, in a pound, 30

required to justify type, 33

weight of, tor a job, 9
Leaf photographs, 288
Leather bindings, to restore, 269

embossed, 256

imitation, 266, 267, 270
Leatheroid, 258
Leimtypie, 241
Letter and note papers, 180
Letter papers, sizes of, 151
Letterpost, inland, 345
Letters, accented, 23
Lifts and formes, 24
Lithograi)hers' " tuslie," 211
Lithonraphic bronze printing, 216

chalk, 219

damjjing rollers, improvement in,
219

decoration of wood, 218

inks, fading of red, 218

presses, tymjmns for, 226

printers, liints for, 217

rollers, cleaning, 228

rollers, glazing of, 225

show-cards, metal back for, 211

stones, new preparation for, 214

stones, sizes and weights of, 215

wrinkle, 223
LnnoGHAPHv, 210

Lithography, gold and silver printing
in, 225"

origin of, 213
Lithojjhine, how to use, 222
Lithotint, 225
Lock-up for galleys, 45
Long measure, 341

INDEX OF SUBJECTS.

355

Long f, use of, 26
Lubricating printing machines, 67
Luminous paint, 109
Lustra painting, '293
Lustrous polish for cabinet work, 314
Lye, simple and effective, 130
to make, 109

Machine and Press Work, o5
Machinery, cleaning, 72

hints for buyers of, 58
Machines, cylinder and platen, 87
Make-ready, save your, 67
Making-ready, rapidity in, .56
Mallet, shooter, and quoin, 23
Marbling book edges, 264
Margin gauge, new, 49
Margins for books, 36
Maxims for printers, 336
Metal, purple, 326

Metallic writing pencils, to make, 281
Metrical system with English equiva-
lents. 343
Millboards, 143
Miscellaneous, 272
Modelling wax, 286
Money orders, 346
Morocco leather, 262

Persian and Turkey, 259

to restore, 268
^Motion (time), 341
INlount for illustrations, 48
Mounting prints on cloth, 291

stereo plates, 198
Mourning paper, 322
Mucilage for pasteboard, 190

of acacia, 195

stick-fast, 188

to keep, 191

to make elastic, 186

JMVCILAGES, 185

Music, printed as played, 29
printing, new method of, 29

New founts, a plea for, 38

type, method of laying, 4
Newspapers, weight of type for, 52
Nickel plate, to, 273

plate, to remove, 276

plating, rust stains on, 308

to clean, 274

Note and letter papers, 180

paper, blotted, 173

paper, sizes of, 151
Number of pages in a given number
of quires, 146

Oil painting on terra cotta, 284

printing, 103
Oilcloth, cleaning, 253
Oiled sheets for copying, 169
Old prints, reproducing, 310
Ormolu, 292

Overlaj', to prepare an, 68
Overrunning type in con-ections, 31
Owltype, recipe foi-, 50

Page-cords, preservation of, 30
Paint, transparent, for glass, 119
Painting monograms, 328
Pamphlet covers, hints on setting, 3
Paper, a sheet of, 177

ancient, 171

and card stock, protection of, 180

and eyes, 183

anti-forgery, 161

antiseptic, 145

asbestos, 179

Australian, 169

baskets of, 140

blasting, 142

bottles, 143

boxes, inside coating for, 303

carbon, 157

Chinese rice, 183

cloth finished, 140

colouring and drying tissue, 181

discoloration of, 180

drawing, 183

enamel, 160

fire and water-proof, 170

fire and water resisting, 161

for negative printing, 167

from moss, 174

granulated, 183

grease spots on, 171

gummed, 137

hanging, for damp walls, 143

how handmades aie made, 162

how to test wood, 168

impermeable wrapping, 157

insensible, 138

356

THE PRINTERS' HANDBOOK.

Paper, iridescent, 172
Japanese handmade, 182
largest size made by hand, 182
method of waxing, 184
on judging, 136

or cards, enamel surface for, 173
origin of blue writing, 179
ornamentation on, l4o
pads, flexible compound for, 196
pads, manufacture of, 178
parchment, 167
preparing, for copying, 141
preservative transfer, 166
process tor watermarking, 162
protection of, against rats, 172
pulp from cotton stalks, 137
rendering waterproof, 170
right and wrong sides of, 169
satin, 158

selecting, to suit ink, 76
set-off, 77, 142
sizing, 159
smooth surfaced, 172
splitting a sheet of, 174
strong flexible, 170
table for giving out, 157
table of cost per 100, 155
table of cost per 1000, 155
test for printing, 174
to cut into three or five, 182
to make blue sugar, 161
to make euieiy, 156
to make tough, 136
to prej)are, for transparent printing,

160
to soften hard, 143
TO wet down, 159
tracing, 165
transfer, 171
transparent, 139
aninflammable, 161
unsized plate, 167
washable, 164
waterjiroof, 160
waterproof luminous, 138
waterproof packi?ig, 170
weights of sizes of, 168
windows, 145
['apers, brown, sizes of, 150
equivalent sizes of, 147
letter and note, sizes of, 151

Papers, life of printing, 173

practical testing of, 181

printing, subdivided, 156

sized with resin, 159

sizes of English, 153

sizes of French, 152

sizes of German, 153

sizes of Italian, 154

sugar, sizes of, 151

to detect arsenic in, 158

to soften harsh, 158

with watermarks, printing, 178
Papier-mache, 164

covering for floors, 144

goods, 139
Parcel post, 347
Parchment, artificial, 142

paper, 167
Paste, 185

durable, 192

for labels, 188

for mounting drawings or photos,
187

to preserve, 194

without boiling, 193
Pasteboards, to prevent dampness and

brittleness in making, 191
Pasting labels on metal, 194
Pearl patterns on cloth, 266
Pellisfort binding, 255
Pencil, the lead, 283

notes, to render indelible, 282

sketches, to jireserve, 290
Pencils, colouring of, 282

composition of coloured, 282

for glass and porcelain, 283

indelible, 277
Pens, using new, 277
Perfecting machine, new, 80
Pheasant colour, 110
Photo-etching on wood, 232
Photo-lithograj)h3^, how done, 210
Plioto-zincotypes in colours, 295
Photographic j)rinting in colours, 290
Photographing on wood, 240
Photographs, hints for mounting, 320

how to trace, 319

to restore faded, 311
Photogravure plates, steel-facing, 231
Phytochromotypy, 300
Pitch, finding, on machine, 84

INDEX OF SUBJECTS.

357

Plain stamping, 334:

Plates, removing paraffin from, 201

Plus and equal marks, 327

Point system, American, 36

Post, pinched, 165

Postage, rates of, 3-15

Postal orders, 346

registration, 346

tubes, to make, 145
Postcards, 345

Powdered red in lithography, 132
Preparing panels for painting, 309
Preserving ink, gum, or paste, 128
Presswork, some hints on, 70
Printed matter, to copy, 310

■work, hints fur quickly drying, 76
Printers' devil, the, 330

wayz-goose, 331
Printing device, ingenious, 26

envelopes, 63

red on black paper, 70

solid black on gold, 63
Process blocks, 55

blocks, hints on dravring for, 239

blocks, to print, 77

engraving, 249

half-toned blocks, 239

of illusti-ation, new, 237
Proofs, rough, 33
Proper names, 40
Public libraries, demands of, 312

Quarter-days, dates of, 344

Reams, equivalent weights, 149

relative weights of, 148
Red edges, 261

edges, colour for, 265

ink, where shall it be used 1 59

ink and electrotypes, 76
Registration at Stationers' Hall, 338
Reglet and furniture, cutting of, 37
Relief stamping, 335
Restoring writing on old deeds, 109
" Retree," 144
Roller composition, 88

flaring a, 92

frettme, 90

moulds, lubricating, 99
Rollers, 88
Rollers and blue ink, 93

Rollers, arched, 92

best period for making, 88

care of, 91

cleansing of, 89, 99

cooling, 93

composition, patent, 93

covering machine damping, 227

cracked or cut, 90

damage to, by brass rule, 60

damp or greasy, 89

difficult, 94

facts about, 95

good V. bad. 91

good wearing, 98

lithographic, 100

lye for washing, 93

method of renewing, 89

out of use, 91

packing on machine, 84

patent felt, 94

preserving, 98

recipe for softening, 90

remedies for damp and dry, 89

renovating old, 96

to cast, 96, 97

to clean after copying ink, !: 9

to dry or warm, 94

to keep, 99

too new, 95

treatment of, 98

warming, 91

washing, 92

wear and tear of, 95
Roman type in Germany, 47

type, origin of, 44
Rubber blankets, cleaning, 81

packing, impervious, 277

rings, to soften, 277

stamp moulds, 282

stamps, making, 278

to dissolve, 278

to vulcanize, 279
Rule cutter, new, 54

mitred, 20
Ruling on paper, 322

tissue paper, 301
Rust from polished surfaces, to re-
move, 322

Scenting of paper, 324
Screws, rusting of, 299

358

THE PRINTERS' HANDBOOK.

Sealing-wax blots, to soften, S13

liquefiable, 187

ordinary, 196
Selenotype, 50
Self-spacin": type, 8
Semi-transparent paper bags, 172
Set-off paper, 77, 1452

sheets, 64
Setting of half-measures, 32

rule, first use of, 17

up and working numbers, 12
Shellac, waterproof, 186
Shop windows, fnded goods in, 300
Short measures, setting of, 4
Show windows, cleaning powder, 292
Signatures and folios, table of, 35
Size, printers', 117
Slate, artificial, 3'21
Slurring on platen presses, 63
Soap as a " doctor, how to use^ 223
Soldering mixture, new, 207
Solid or cubic measure, 342
Sorts, iiints on ordering, 11

ordering, 42

picking of, 25
Spaces, suggestion for, 7
Spacing, 8

of matter, 8
Spatterwork, 291
Special sorts, 43
Spots on engravings, .S17
Stained glass, printing, o02
Stamping, to make counter-dies for,

248
Stanijis, table of, 344, 347
Standard troy weight, 340
Standing formes, 7
Steam j)ipe for heating, 3^9
Steam ])ipe , chea]) jacketing for, 304
Steel, etching on, 244

goods, rusting of, 326

pens, manufacture of, 279

to engrave on, 242
Stereotype core blocks, improved, 208

metal, 199

metal, American, 2)1

metal, correct hpatof, 204

metal, proportion of antimony for,
200

moulds, 198

paper moulds, mice-proof, 204

Stereotype plates, moulds, and ma-
trices for, 205

plates, sharp, 203

plates, to mount, 198, 203

zinc etchings, to, 208
Stereotypes, celluloid, 201
Stereotypers' improved paste, 207

paste, 200

valuable hint to, 199
Stereotvpinc and Electrotyping,

198
Stereotyping, cold, 202

millboard, patent, 207

music, 200

some defects in, 201
Sticking of poster sheets, 128

writing pads, 188
Stone, preserving drawings on, 221
222, 227

type, 27
Strawboard, 163

Subscribers' names, printing of, 325
Sugar papers, sizes of, 151
Suggestion, a good. 4
Sulphuric acid, substitute in etching,
230

Tapes, dirty machine, 81
Tea and tobacco papers, sizes of, 146
Telegrams, 346

Terra cotta, to paint with oils and
water colours on, 307

to write on, 316
Ticket printing machine, 79
Tin, printing on, 79
Tin-foil, printing on, 58
Tint blocKs, cork, 4,3

blocks, metal, 40

patent leather, 49
Tinting maps, 295
Tints, emergency, 18

use of, 64
Tip, useful, 24
Title-pages, 43
Titles, displaying of, 25
Tracing cloth, 158
Transfer printed matter to glass, to,

272
Transferrers, hints for, 215
Transferring design lor embroiderv,
284

INDEX OF SUBJECTS.

359

Translucent pictures, '289

Transparencies, colouring', 307

Ti-fensparent con ting for prints, 326

Turkey red, 106

" Tushe," lithographers', 211

Twisted rule, care of, 33

Type bodies, difference between, 27

buying, 6

cases, 46

cases, preservation of, 30

elastic-faced, printing, 40

fashions in, 45

made fi-om paper, 48

metal, 28

metal, durable. 28

metals, proportions of English and
French, 9

origin of sizes of, 1

parts of, named, 46

relative sizes of, 22

relative sizes of English and Ger-
man, 51

sectional, 53

self-spacing, 8

square inch of, 20

sticky, 16

stone, 27

weight required for job, 32
Types, bastard, 27

comparative sizes of, 21

sizes of, 32
Typefounders' sizes, table of, 26

suggestion for, 47
Type-writer press copies, 326

to re-ink a ribbon, 304
Typography, taste in, 2

Unmounted photos, to keep flat, 324

Varnish, a new, 118
bookbinders', 107
clear shellac, 135
elastic flexible, for paper, 113
good black, 103
green, for metals, 104
in colour printing, 107
new printing, 131
picture, 110

quick drying, for book covers, 111
rubber, 120
waterproof shellac or, 186

Varnish, white, for toys, 134
Varnishing of paper, 135
Vellum, printing on, 335
Vermilion, ancient use of, 332

Wafers, 190

Wall-paper, to make stick, 195
Wall-papers, coloured, 162
Warehouse Work and Stationery,

136
Warping of cuts, safeguard against, 62
Wash out a job, how to, 219
Washing formes, 5
Water jug and sponge, 24
Waterproofing material, 287
Wax, map engraving, 243
Wayz-goose, printers', 331
Weights and measures, 339
Window decoration, new style of, 312

signs, cheap and effective, 294

transparencies, 303
Wine and spirit measure, 340
Wood for binding, 254

letter, 243

letter and cuts, to preserve, 13

letters, emergency, 16

letters, method of cutting, 53

moulding for picture frames, 298

printing on, 336

pulp, early experiment, 175

pulp, processes for making, 175

type, copper-faced, 14

type, how to treat, 15

type, repairing, 14

worms, remedy for, 265
Woodcuts, damaged, 248
Wood-engraving, photography for,

252
Wool weight, 342
Working of blue and green, 57

cardboard, 60

headings at press, 67
Wrapping paper for metals, 177
Wrinkle, useful, 55
Writing-book, cover for, 258
Writing ink, to prevent spreading on
tissue, 124

taking out, 285
Writing on metals, 251

Xylonite, printing on, 86, 87

36o

THE PRINTERS' HANDBOOK.

Zinc, copper-plating on, 206
engraving on, 246
painting, .^IS
plates, polishing, 245
plates, to harden, 247
plates, to preserve, 245
plates as substitutes lor litho stones,
224

Zinc plates in lithography, prepara-
tion of, 220, 221
printing dry from, 212
rules, 31
Zinco blocks, oxidation of, 229
Zincographs, to preserve, 241
Zincos, transforming into engraved
blocks, 235

CHISWICK PRESS

, WHITTINGHAM ANB CO., TOOKS COURT,
CHANCERY LANE.

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or mounted on rollers and varnished, 55. 6d. net.

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TECHNOLOGICAL HANDBOOKS.

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might be puzzled." — Cheviical Ne'ws.

GLASS MANUFACTURE. Introductory Essay by
H. J. Powell, B.A. (Whitefriars Glass Works) ; Crown ani>
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ham) ; Plate Glass, by H. G. Harris, Assoc. Memb. Inst. C.E.

COTTON SPINNING : Its DcveIop?neHt, Principles, and
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the City and Guilds of London Institute. Fourth Edition. 6.?. 6d.

Contents. — Introductory — Cotton — The Mill — Manipulation of the Material — Card-
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Modern System of Spinning — The Modern Mule — Throstle and Ring Spinning ; Doubling
— Miscellanea — Appendix.

"An admirable work on the subject." — Manchester Examiner and Times.

" Practical spinners, of whom Mr. Marsden is evidently one, will value this volume as
a handbook, and learners will find the fullest information given with the greatest possible
clearness." — Manchester Courier.

COTTON WE A VING. By R. Marsden, Examiner to the
City and Guilds of London Institute, Author of "Cotton Spinning."
With numerous illustrations. [7« preparation.

COAL-TAR COLOURS, The Chemistry of. With special
reference to their application to Dyeing, &c. By Dr. R. Bene-
DIKT, Professor of Chemistry in the University of Vienna. Trans-
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ford, 2nd Edition, Revised and Enlarged. 6j. dd.

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WOOLLEN AND WORSTED CLOTH MANUFAC-
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Contents. — Materials — Woollen Thread Manufacture — Worsted Thread Construction
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Loom — The Principles of Cloth Construction — Fundamental Weaves — Hand Looms —
Power Looms — Weave-Combinations — Drafting — Pattern Design — Colour applied to
Twilled and Fancy Weaves— Backed and Double Cloths — Analysis of Cloths and Calcula-
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high place among technical manuals." — British J ottrnal of Commerce.

PRINTLNG. A Practical Treatise on the Art of Typography

as applied more particularly to the Printing of Books. By C. T. JacobI,
Manager of the Chiswick Press ; Examiner in Typography to the
City and Guilds of London Institute. With upwards of 150 Illustra-
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and Phrases, ^s.

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the success it deserves in its efforts on behalf of technological education." — Printing-
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" ' Printing' is a book that we can recommend to our readers. It is literally full of
items which will be of importance to the printer in his daily toil." — Elective Advertiser.

BOOKBLNDING. A Practical Treatise on the Art. By J. W.
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Second Edition, Revised, ^s.

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PLUMBING. Its Theory and Practice. By S. Stevens
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SILK-FINISHING. By G. H. Hurst, F.C.S. [//? the press.

''THE SPECIALISTS' SERIES."

A New Series of Handbooks for Students and Practical Engineers.
Crown 8vo, cloth. With many Illustrations.

ELECTRIC TRANSMISSION OF ENERGY, and its

Transformation, Subdivision, and Distribution. A Practical Hand-
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should take hold." — Engineer.

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X\m^."— Saturday Review.

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HYDRA ULIC MOTORS : Turbines and Pressure Engines.
For the use of Engineers, Manufacturers, and Students. By G. R.
BoDMER, A.M. Inst. C.E. With numerous Illustrations. I4J-.

"A distinct acquisition to our technical literature." — Engirieering.

" The best text-book we have seen on a little-known subject." — T/ie Marine Engineer.

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Athen<sum.

THE TELEPHONE. By W. H. Preece, F.R.S., and J.

Maier, Ph.D. With 290 Illustrations, Appendix, Tables, and full
Index. \2s. 6d.

Mr. Rothen, Director of the Swiss Telegraphs, the greatest authority on Telephones
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the profession."

" Messrs. Preece and Maier's book is the most comprehensive of the kind, and it is
certain to take its place as the standard work on the subject." — Electrical Review.

ON THE CONVERSION OF HEAT INTO WORK.

A Practical Handbook on Heat-Engines. By William Anderson,

M. Inst. C. E. With 61 Illustrations. Second Edition, revised and

enlarged, ds.

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ALTERNATING CURRENTS OF ELECTRICITY.

By Thomas H. Blakesley, M.A., M. Inst. C.E. Second Edition,
enlarged. 4^-. 6d.

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BALLOONING : A Concise Sketch of its History and
Principles. From the best sources, Continental and English. By G.
May. With Illustrations. 2s. 6d.

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SEWAGE TREATMENT, PURIFICATION, AND

UTILIZA TION. A Practical Manual for the Use of Corporations,
Local Boards, Medical Officers of Health, Inspectors of Nuisances,
Chemists, Manufacturers, Riparian Owners, Engineers, and Rate-
payers. By J. W. Sl.\ter, P\E.S., Editor of "Journal of Science."
With Illustrations. 6s.

''The writer in addition to a calm and dispassionate view of the situation, gives two
chapters on 'Legislation' and 'Sewage Patents.'" — Spectator.

A TREATISE ON MANURES ; or, the Philosophy of
Manu7-ing. A Practical Handbook for the Agriculturist, Manufac-
turer, and Student. By A. B. Griffiths, Ph.D., F.R.S. (Edin.),
F.C.S. ^s. 6d.

"We gladly welcome its appearance as supplying a want long felt in agricultural
literature, and recommend every farmer and agricultural student to possess himself with a
copy without delay." — Farm and Home.

COLOUR IN WOVEN DESIGN. By Professor Roberts
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College. With 32 Coloured Plates and numerous Illustrations. 21s.

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Manufacturer.

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lishers are to be congratulated on the general excellence of the work." — Textile Mercury.

W^orks in Preparation —

LIGHTNING CONDUCTORS AND LIGHTNING

GUARDS. By Professor Oliver J. Lodge, D.Sc, F.R.S. ,
M.Inst. C.E. With numerous Illustrations. [lit the press.

THE DYNAMO. By C. C. Hawkins, A.M.I.C.E., and
J. Wallis. [Preparing.

CABLES AND CABLE LAYING. By Stuart A.
RussEl-L, A. M.Inst. C.E. [Preparing.

THE ALKALI-MAKERS' HANDBOOK By Professor
Dr. George Lunge and Dr. Ferdinand Hurter. Second
Edition, revised, and in great part rewritten. [In the press.

ARC AND GLOW LAMPS. New and Revised Edition.

[Preparitig.

THE DRAINAGE OF HABITABLE HOUSES. By

W. Lee Beardmore, A.M.Inst.C.E., Hon. Sec. to the Civil and
Mechanical Engineers' Society.

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